Side project of Vindsval and WD Feld, better known under their work within BLUT AUS NORD, the duo plays with YERÛŠELEM a Black but Industrial-oriented Metal, which together strongly recall the beginnings of the Industrial Metal scene with its post-punk and shoegaze elements.
It’s with The Sublime, one of the longest tracks of the album, that this one starts. It acts as an introduction and announces relatively well the global atmosphere that the eponymous record will provide us. We find from the first seconds this old school aesthetic of Industrial Metal: heavy drums, reinforced by a showcased low bass, all on the background of hyper-saturated guitar, worn by a slow, mechanical and overwhelming pace. Not least with Autoimmunity, tie stones will really start to fall and bring this unique vibe to the rest of the record in which will flow different structures built around.
We generally find these cold and mechanical ambient sounds, on an almost ethereal singing where various manufactured effects are metallically resonating. The scattered sung moments are more used as a complement to the audio effects than as a lyrical effort, reinforcing the cold aspect of the record. The writing is essentially focused on the aesthetic and so it’s not on the MINISTRY‘s or AND OCEAN…‘s path and their energetic riffs that it has to be sidetracked, but indeed to other more aerial formations like a less saturated JESU or a worthy descendant of GODFLESH.
The accent will be on percussion on some tracks like Joyless and its resonances directly produced from the bottom of a foundry, or Triiiunity that pushes the emphasis even further. While maintaining the same musical structure, we are immersed in a cyclic rhythm as a production line, like UNITUS music. For others, the showcase will be on the strings but always with a rhythmic at the front of the line. Babel lets itself be carried by the bass, bringing with it all the instruments followed by the clear song of Vindsval closing the march.
Although GODFLESH is the most often cited for comparison, it is rather other formations, more minor, that come to resurgence. Can be mentioned, among others: DEAD WORLD which becomes quite obvious on Babel, vis-à-vis the surrounding atmosphere and drones used; or GIGANDHI, especially with Eternal for the melodic side that goes back, personally, in terms of influence. The review certainly takes a more subjective approach and, although I strive to remain critical and objective, I find the sound of two of my favorite Industrial Metal bands in this French one. So difficult to remain indifferent.
It may be what made me caught at first, but after several plays there remains a bitter feeling of unfinished task where the tracks display substantially the same structure. Maybe by setting aside the ambient side – that the duet already controls perfectly on BLUT AUS NORD – and by more focusing on the melody, the band would bring more variations within the same song in order to break the monotony and thus bring more consistency to its production. This remains a bias coming from someone who discovered the work of the duo without being influenced by the famous original formation.
In a nutshell, The Sublime remains a solid album in its foundations which succeed by its both oppressive and ethereal atmospheres, all sustained by a heavy and saturated instrumental. Nevertheless, even if YERÛŠELEM launches with well filled luggage, the project must be freed from BLUT AUS NORD to be able to fly with its own wings if it wants to assert itself fully of the Industrial etiquette.