Acrimonious - Sunyata (2012)

The previous Acrimonious full-length, Purulence (2009) was not one I derived much enjoyment from, a fairly typical Scandinavian styled black metal disc which never really distinguished itself with strong composition or even just damn good riffs. Having said that, the Greeks have rallied, regrouped, and produced a far more poignant and compelling offering in Sunyata, perhaps not something as riveting as Hellenic masterworks like Triarchy of the Lost Lovers, Scarlet Evil Witching Black or the latest from countrymen Spectral Lore, but nonetheless a proficient, multi hued opus which should garner them some attention through the underground. It's not exactly a paradigm shift away from its predecessor, and it's not composed of wholly novel aesthetics, but there is an unshakable sense of mystical fulfillment here which stands up to numerous listens with little hint of decay.

For one, the ambient and black metal components really gelled through this release, the Greeks employing a clear dark classical influence, through both the standalone pieces like the intro "Nexus Aosoth" with its grim string swells, and the subtle and complementary synths and effects used to heighten the riffing surges. Even though the guitars aren't anything we haven't heard before among Norse and Swedish black metal royalty, the tone of the chords is so level and dense that they really stand out against the echoing, clamorous vocals and the polished if intense drumming. Bales of melodies and harmonies are constantly writhing above the flood of the rhythm guitar, and in truth there's a lot of intricate, acrobatic groundwork here which draws the ears far more than on the debut. The general quality of the riffs might not be the highest or most memorable you'll apt to encounter in this field, but there are at least a dozen standouts spaced out among the hour of music that create anticipatory highlights. Acrimonious is not yet a band one would turn to for astounding leads, but the contrast of rich dissonance, brighter melodies and loads of variation is intriguing enough.

Bass lines have that hint of progression and groove to them which lends itself well to the exotic ritual and introspective grandeur felt through worldly black metal, once again creating a subtext of progression and exploration rather than merely aping the rhythm guitars. The drums are tight and fill-heavy across all tempos, with a nice sheen of reverb that helps them cut through the glinting, harried guitar work; and the vocals are possessed of a solemn, soaring angst which breeds a lot more character than the standard rasp would have been able to achieve over these tunes. It's full-bodied, rapturous and works well with the choirs and other distractions the band uses to balance off the aggression of the core instruments. In short, there's a good deal happening throughout Sunyata, and thanks to the production values, you'll be able to discern it all. Much of the music is accessible, yet there's more to greet you with each successive spin, not to mention the strength of its passionate occult lyrics. Tracks like "The Hollow Wedjat" will prove a thrill for fans of mid to late-90s Emperor, and I'd very much recommend the album to those who enjoy the other, more ambitious Greek outfits like Spectral Lore or Acherontas, the latter of which several of the members were once involved in.

Verdict: Win [7.75/10] (and so Moves the Voice that no Thought can Bind!)

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Acrimonious - Purulence (2009)

Acrimonious is yet another Greek black metal project to involve members of Stutthof/Acherontas, who seem to have been quite busy in the year 2009 (Acherontass' side project Nihasa, and Stutthoff digging up some old tracks to release as an EP). This is a distinctly more straightforward take on the genre than their mainstay Acherontas, in that there are far less synthesizers and atmospherics involved, but like a lot of the work they've done in the past, there just never seem to be those truly unhallowed riffs or glimpses of genuine malice tearing through the fabric of composition. That's not to say that Purulence is a bad debut, because its production values are solid and there is some variation in the track list, but ultimately it ends up just another, unsung ripple in the broad, Norwegian wake.

Firstly, I'm not sure about the decision to have an 11+ minute track, "Call to Disorder", right up front. The song sounds enormous, with doom-like black riffing and tiny trails of discord through the majority of its playtime, but spurts of accelerated blasting to breach the monotony. Yet the guitars, as rich and up front as they sound, never mold themselves into anything interesting. Thankfully, none of the other tracks feel so bloated. "Dissolving Spirits" and "Angel Withdrawn" are faster, with flights of tremolo picking or rushes of low-end chords that channel the charnel influences of Bathory, Mayhem, Emperor and so forth. Several of the other, slower pieces like "Purulence" and "At the Portals of Daat'" are better at managing their individual atmospheres, the latter involving some of the best, dire melodic breaks on the entire album. "Spirit's Eclipse" is probably the best overall, with the warped guitars in the intro and a subtle, shining escalation to the streaming guitars, but even this is just not exemplary.

The lyrics here were rather interesting, if a bit jumbled. Loads of blasphemous, thoughtful imagery are rushed before the readers' eyes with far more complexity and curiosity than the music really permits, and it's just a shame that such effort wasn't placed in the actual notation. The vocals are flat out dull throughout, a typical grunt and rasp that never achieves any sense of syllabic integrity or menace, an open throat almost phoning in the stirring imagery. Often I was reminded throughout of several of the Swedish 'orthodox' black metal bands like Ondskapt, but mostly just in mood and the obvious attempt here to be simple and eerie. I was taken here by the Greeks' poetic insight and Purulence's tactful production, but the actual musical does not dwell upon the conscious for long, and I must reiterate that Acherontas seems to be the best decision these two have made in their careers; most of these parallel projects don't live up.

Verdict: Indifference [6.25/10] (where the rays of light do not reach)