Nazxul
Iconoclast Obsidian The recorded output of mysterious and notorious Sydney black metal band Nazxul has been sporadic to say the least. A live album along with a couple of EPs and split releases notwithstanding - and despite apparently being first contemplated in 1998 - new album 'Iconoclast' is only their second full length studio recording in a seventeen-year career. Indeed, it has been a full fifteen years since their debut album, 'Totem'. The 2004 split release with Melek-Tha ('Develish Purefaction') hinted at the progression in the band since the raw fury of 'Totem' by showcasing some bleak and very dark atmospheric ambience. Since that time the band has endured a number of setbacks and indeed tragedy with the passing of guitarist Greg Morelli in 2008, but now with the eventual completion of 'Iconoclast' their musical vision is finally fully realised. This is a truly stunning piece of work that is utterly epic in sound, scope and execution. While just as venomous and brutal as anything from their back catalogue, there is now also a palpable sense of grandeur. Keyboards are prominent and constant but not completely dominant, being used effectively to create an atmosphere of both majesty and foreboding above the blazing guitars, blast beats and subterranean bass. The production is also a big step up from the murky sound evident on previous Nazxul releases. The album is cohesive and well-structured; judiciously placed moments of austere and hauntingly melodic ambience, typified by the eerie opener Apoptosis, contrast with and provide respite from the otherwise unrelenting assault on the listener's senses. Black Wings blazes forth like some unholy symphonic Slayer, while Oath (Fides Resurrectio) and Stain Of Harrow have the same soaring, majestic qualities of Agalloch and Enslaved. Set In Array combines a huge wall of sound with a hellish and vitriolic vocal performance from Luke Mills, but the standout for me must be the title track. Throughout its eight-minute length, this soaring and savage paean would not sound out of place on Emperor's classic 'Anthems To The Welkin At Dusk'. A big call I know, but this really is a cracking song. By turns sombre, vicious, majestic and blasphemous, 'Iconoclast' is all that a black metal album should be and more. Hopefully we won't have to wait another fifteen years before the next sinister instalment.  |
Issue 490
Music
