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Dutch band
Nihill debuted with
Krach (Monumentum, 2007), that was neatly divided in two parts, one
side of distorted industrial-grade black metal and one side
(the 42-minute Gnosis) of
droning hyper-doom metal.
The first side is more atmospheric than most black metal. The epileptic fit of Mundus Subterraenus is mediated by engine-like guitar noise and by bass-lines that hint at a melody, and the blast-beats of
Dreams Upon The Scaffold are almost "modulated" to sound like
a rockabilly rhythm while the guitar and the vocals engage in a battle
of alienating repetition. Both pieces are interrupted by cryptic and chaotic
theatrical scenes, like documentaries from hell.
The three-movement suite Gnosis opens with dirty drones that lay
the groundwork for the colossal riff and the martial beats. The riff decays
into a distorted rumble and, during a drumming pause, the guitar intones
a languid lament. The first movement eventually loses all its energy as
it spirals down into a galactic vacuum. The second movement focuses on
the recitation, set in a landscape of sound effects and no drums.
The third movement is even more abstract, sounding like a nuclear explosion
and the propagation of its wave of radiation, all simulated by guitar and bass.
Grond (Hydra Head, 2009), instead, opted for a barbaric and relentless
sonic assault.
The eleven-minute Aard is all blast-beats and hysterical guitar, with
the timid growl emerging late in the game.
The pace of the 17-minute Antimoon is more humane, without blast-beats
but with more intense and disturbing guitar noises that yield a lengthy coda
of pure dissonance and ambience.
The twelve-minute Vacuum intones a gloomy chant over a tribal voodoo beat
and the carpet distortion of the guitar, the whole turning into a hysterical
self-destructive crescendo.
The recitation prevails in the eleven-minute Pulsus, the music being
a prolonged agony of screaming guitar and bass.
The theatrical quality of Krack is here centerstage, the very reason
for the music to exist.
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