Vanmakt, Ad Luciferi Regnum
In reviewing Vanmakt‘s Vredskapa Mörkersagor last year, I wrote that the band “…would most likely have bludgeoned me unconscious, nailed me to an inverted cross and slit me open from groin to gullet — bleeding me out over an ornate pentagram geared for the arrival of Hell’s demons.” While that statement basically remains intact for the band’s latest effort, Ad Luciferi Regnum, the band would perform said act with a bit more pomp and grandeur.
Sure, these guys still love them some Satan, but they’ve injected more melody and atmosphere into the overall mix of this latest album. Hell, they even successfully incorporate some well placed female vocals — and still retain a measure of Luciferian devotion. Raw, textured guitars drive like demons in flight, while the drums (handled by in-studio drummer Liedheim) is manic, unrelenting and hits rapidly and violently.
The Second Key
“The Second Key” opens up the album with slow, wavering and evil guitars for the first few seconds as layered female choral vocals come in with massive riffs. There’s some indecipherable speaking amongst the atmosphere building first few moments, but all that is wiped clean as blasting drums erupt from the speakers with higher end screams that are full of Satanic vehemence. There are a few more moments of calm while the lead vocals are mumbled/growled, but they are short lived as the machine-like drums pulverize bone and tissue to a bloody pulp.
Brethren of Lucifer
After the soothing finish to the opening song, Vanmakt get this next one rolling along with some decent riffing and more demonic drum blasts. The vocals vary from deep gutturals (with a little production effects thrown in) and the mid to higher range screams. There’s actually a decent groove flowing through this one, as well. This track is beastly on plenty of levels, yet maintains some clarity with a bit of melody and interesting structure. There are also a pair of slick leads around the three minute mark.
Endless Myth
If there is a fault to be found in the opening few tracks it’s that they’re a bit formulaic — slow start and then a blast of manic drumming that’s impossibly fast. Luckily for Ad Luciferi Regnum I don’t mind all the seizures the blasting drums are giving me. The band’s aggression and dedication to their form is respectable and it’s performed well enough to overcome the repetitive nature of some of the material. Lots of post-production effects are added to the spoken vocals toward the end of the song that make it that much creepier.
Re-Incarnating Hatred
Holy hell, the drums and hellish scream that open “Re-incarnating Hatred” are fueled by violence and hatred. This is one of the more aggressive and in-your-face songs on the album. The only thing that would make this song (and album for that matter) a better product would be a dirtier production. Don’t get me wrong, the album sounds great, but it’s a bit too polished for my liking. A more raw feel to the album would have sent it over the top for me.
Ad Luciferi Regnum
Next up is the title track, opening with heavy drum work and a more desolate sound to the guitars. The acoustic guitar is a nice touch, helping break up the psychotic pace these guys attack with. I think there’s more to the mid-tempo attack found on this track that the band needs to explore more. Again, the frenetic blasts are a nice touch, but the variable tempo shifts make this song that much more interesting. The chugging riffs around the three minute mark are sure to induce head banging from Hells legions of damned.
Id XIII Inferni
“Id XIII Inferni” starts off with atmospheric noise and light, wavering guitars in the distance. That all comes to a violent end at the :30 mark as massive blasts, driving guitars and violent vocals fly from the speakers like spit from Satan’s gaping maw. For as unrelenting as the pace is through the majority of this song, there are still a few lucid moments that make for an dynamic overall sound.
The Ascension
“The Ascension” is definitely the epic song on Ad Luciferi Regnum complete with more melodic passages, female vocals and plenty of atmosphere. Soulful isn’t typically a word associated to black metal, yet there’s plenty of feeling to this song even through the more bludgeoning blasts. Could this be the future of Vanmakt or is it just experimentation? We’ll have to wait till the next album to find out.
Beneath the Moor
Vanmakt seems to be saving their best (and strongest) material for last. “Beneath the Moor” is much slower and darker than previous songs on the album. Sure, it’s still chock full of frenzied drumming and driving riffs, but it’s got a bit more structure and variety to the song writing. Acoustic passages mix with bruising riffs to great effect on this one. Layered growls and screams add some great depth, as well.
Written in Blood
The final song must surely have been penned in the blood of a recently sacrificed virgin on a parchment of dried flesh. The song is started with light guitar and drum work for the first 10 seconds before some of the thicker riffs on the album swallow them whole. Everything is eclipsed shortly after with blasting drums and huge screams. I’m digging the frantic versus calming moments throughout “Written in Blood” — it certainly makes for a more interesting listening experience. This is definitely one of the stronger songs on the album and a great way to wrap it all up.
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Favorite Tracks:
All of them
Additional Notes:
N/A