The Serpent's Breath I: The Codex Necro

Anaal Nathrakh are a band that I've been listening to for almost as long as I've been into extreme metal. The Codex Necro and Domine Non Es Dignus were always in rotation in my late middle school-early high school years. Instead of listening to pop-punk ballads or the whiny, musically devoid aging grunge scene, I got my angst out to Dave "V.I.T.R.I.O.L." Hunt's harsh screeches and the distorted melodies played by bandmate Mick "Irrumator" Kenney. With the release of Vanitas late last year, I figured I'd go through their discography again.

The Codex Necro is perhaps the epitome of their pent-up rage. They have yet to match the scathing venom that the combination of "Submission Is For The Weak," "Pandemonic Hyperblast," and Nietzschean "Human, All Too Fucking Human" ooze. These tracks are fantastic for this reason alone, not to mention the infectious melodies pumped into them by Kenney's guitarwork. It's less noticeable on this release, which has a black metal sound to it, but he has said that he takes a lot of influence from metalcore and melodic death metal. The hooks are present on here though, and there's plenty of memorable riffs and phrases.

There's something so primal and disgusted in Anaal Nathrakh's music on this release, and it sounds fucking grimy to boot. The guitar is heavily distorted, industrial elements dip the riffs in oil, and the static-laced shouts of Hunt set them ablaze. This album is perhaps notorious in their discography for having the most blatant industrial elements up until Passion, but it doesn't hurt the music at all.

If there's one thing that bothers me about The Codex Necro that keeps it from being great is that it feels very single-minded. There aren't a lot of ideas here - just pure, unbridled aggression. The idea becomes stale when the more furious tracks give way to slower, more boring ones like "Incipid Flock" or the title track. However there are some surprises hidden on the later half of the album, with "The Technogoat" and the awesome d-beat of "Human, All To Fucking Human." Definitely an adolescent classic for me and one that is still enjoyable (what a rarity).

8.0 out of 10

Tracklisting:
1. The Supreme Necrotic Audnance
2. When Humanity Is Cancer
3. Submission Is For The Weak
4. Pandemonic Hyperblast
5. Paradigm Shift - Annihilation
6. The Technogoat
7. Incipid Flock
8. Human, All Too Fucking Human
9. The Codex Necro

Listen // Buy

Jakob - Subsets Of Sets

sol·ace 
/ˈsälis/
1. something that gives comfort, consolation, or relief
2. comfort or consolation in a time of distress or sadness

Solace's meaning is as comforting as the word sounds. Jakob's debut full-length Subsets Of Sets has been getting quite a lot of plays from me as a math and computing-oriented student (set theory and whatnot) lately, and it too embodies this word in essence, sound, and atmosphere. Ironically Jakob has a 2006 album appropriately titled Solace as well, but I'll cover that one some other time.

Subsets Of Sets is an extrospective work of art. The sounds Jakob create on here explore and divulge the inner workings of modern society and its deep impact on us as human beings. These guys put a strong emphasis on rhythms, with prominent drumming and bass often leading the charge into those often overlooked realms. "Drive By Here And Then" is a great opener that sets the tone for the album, building to a distorted climax. "Nice Day For An Earthquake" follows a similar dynamic, but takes on a different facet of living with its sound. The bassline on the track is simple but addicting, and the distorted climax speaks of a distaste for modernity that only feels too appropriate.

Many tracks on Subsets Of Sets do this, but some of the most moving tracks don't. An album favorite of mine, "Overseen" is a moody monument to all the details that pass us by on a regular basis. It builds slowly, with a harmonized cello playing intermittently, never outright reaching that climax. The track is that much more powerful for not doing so, and the dynamic is so nuanced that the track commands my attention every time it's on.

The production on Subsets Of Sets is fantastic. The drums are crystal clear and the bass is audible and constantly driving the music in new directions. Guitar melodies are subdued in the mix, letting the heavy rhythms shine through. When the guitar wants to however it becomes a powerhouse. "The Collar Sets Well," "Ageena," and the end of "Ryan" all collapse upon themselves in a distorted frenzy. It's beautiful in a big-picture kind of way.

What I find interesting about this album is a little interview I found on the internet, originally posted in Pavement magazine circa 2001, where the band describes their songwriting process:

'There's no actual physical song writing ever involved in our musical creation. It comes down to us getting into a room and just taking whatever comes our way basically. We try and keep all preconceptions of music out, and just let something come to us, or just fiddle around til something happens naturally between the three of us, and then once something does, then we work on it. That's just one way of trying to keep our music completely original and completely ourselves.'

This may not be that unique outside of post rock, but when the music is so textured and emotionally powerful, it really impresses me. Solace straight from the soul. Subsets Of Sets brings it in so many ways.

8.5 out of 10

Tracklisting:
1. Drive Here and Then
2. I'm On Your Side
3. Nice Day for an Earthquake
4. Ageena
5. A Moment from Different Angles
6. Aural
7. Calmrock
8. Overseen
9. Sainnes
10. Ryan
11. The Collar Sets Well
12. Some Summer

Bandcamp