Blut Aus Nord played keyboards-tinged black metal on Ultima Thulee (1995)
and Memoria Vetusta I - Fathers of the Icy Age (1996),
but began to introduce elements of industrial music on
The Mystical Beast Of Rebellion (2001 - Debemur Morti, 2011) and
The Work Which Transforms God (2003).
After the ambient detour of Thematic Emanation Of Archetypal Multiplicity (2005), they abandoned black metal altogether for a new gothic genre straddling the border between post-rock and doom-metal with atonal guitars and grotesque keyboards, yielding the tortured Mort (2006) and the mediocre
Odinist - The Destruction of Reason by Illumination (2007).
Memoria Vetusta II - Dialogue With The Stars (Candlelight, 2009) boasted
slick production and contained
the nine-minute Disciple's Libration - Lost in the Nine Worlds.
777: Sects (2011), that marked their return to black metal,
was the first two parts of a trilogy. The chaotic orgy of Epitome I
fades away in a sinister labirynth of ghostly electronic sounds.
The snarling distorted 12-minute Epitome IV boasts the occasional
blastbeats but is mostly jarring plodding nonsense.
Epitome VI pointed at the slow, hypnotic style of the future.
The second installment,
777: The Desanctification (Debemur Morti, 2012), relied on
a drum-machine and moved further away from black music and towards an
atmospheric form of industrial metal.
The hypnotic atonal repetition of Epitome VII has become the norm, and
the ugly vocals simply surf it in search of a friendly riff.
Even the demonic vortex of Epitome VIII nurtures solemn melodic riffs.
The slow-motion closer, Epitome XIII, indulges in quasi-religious
pathos with elegiac, dilated guitar phrases.
The mostly instrumental and infinitely more melodic
777 - Cosmosophy (Debemur Morti, 2012),
the final installment in the 777 trilogy,
was a hodgepodge of all the styles they had tried so far, simply increasing the
doses of repetition and of melody,
from the grandiose post-industrial crescendo of
Epitome XV (the crowning piece of the trilogy) to the emphatic gothic
eleven-minute march of Epitome XVIII that dissolves into feeble cosmic
The gentle guitar Epitome XVI leads to a
thundering theme of eternal damnation/desperation, but even at its worst
the sound is now mostly a variation on arena-rock of the 1980s.
The sinister and martial Epitome XIV (where the vocals still dominate)
comes through like an anemic version of Amon Duul II's satanic rituals.
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