| Member Since | 2/20/2007 | | Band Members | 
Mories: Everything | | Influences | www.metalreview.com:
Migdal Bavel is a purely hateful display of absolutely ravenous black metal, almost coming across as wanting to be the successor of The Codex Necro by picking up the husk of what Anaal Nathrakh started out as. That same mix of harsh melody, clanging mechanics, and robotic dexterity is present here, and expanded upon with wilder tremolo, and much more unorthodox structure. Even when breathing its greatest fire, ridiculously extreme tunes such as “Zaota,” “Rapture,” and the explosive opening track "The Confusion Of Tongues" still retain a sense of purpose, composition, and mood. There is nothing safe or friendly about this disc in any way, through Mach-10 programmed blasts, jarringly abrupt chord changes, and larynx shredding screams, De Magia Veterum only exists to turn you into bloody hamburger......
.....But for those who can appreciate or even prefer uncomfortable yet startlingly technical types of harsh, overtly dissonant extremity, De Magia Veterum has unearthed a goldmine of utter chaos that I’m confident you can gorge yourself sick over. Yet when it comes down to it, I still seriously have to question the mental stability of anyone, including myself, who finds music like this to be appealing, since it speaks directly to the lunatic within us all in a frighteningly understandable language.
www.metalreview.com:
The beginner The Confusion of Tongues blasts on the scene in a rapid fire fashion only to stall in a dissonant trance. The Boat of Uta-Naphistim opens with a steady melodic tremolo, only to give way to some crazy fret flies which culminate in a triumphant end. I Am the Vine proves to be the more structured one, although it starts as dashing particle Brownian motion.
Mories does not spend more than 10 seconds on an individual riff, and those you can make out are technical and quirky. Guitars are dominating and are at the forefront of this record. There is no over-reliance on synthesizer to push up melodies and the drum machine (I assume that these are not real drums) does not vie for attention either. It is unfortunate that some of the progressions which could use some development, like the beginning of Zaota and the rapidly moving seawaves of Rapture, end so prematurely, but so is the signature of De Magia Veterum on this record, to continuously search in a self-devouring fashion....
.....Disturbing, esoteric, domineering and very much underground Migdal Bavel is going to require an unhinged, anxious mindset to truly connect. This is for the selected few, and even though I respect the art shown, I can’t honestly say that my bond with this record was inseparable throughout.
http://sonicfrontiers.net:
he album is a sickening swarm of the most unholy blackened noise you’ve ever heard, like listening to Merzbow jam with Ildjarn and Filosofem-era Varg Vikernes while they get fist-f**ked by Lucifer. Everything on Migdal Bavel is buried under a thick black layer of utterly corrosive distortion. The song structures are pure chaos-theory, careening tremolo-picked melodies degenerate into scathing washes of pure white noise......
......What ultimately makes De Magia Veterum so damned compelling is the constant tug-of-war between order and chaos that takes place throughout the Migdal Bavel’s duration. Just when a song starts to become somewhat coherent in structure, it smashes itself into a million jagged, razor-sharp pieces, unleashing shards of sonic battery before taking on yet another new form. Moments of melody are deliberately ripped to shreds, pissed on and set ablaze as destruction and violence take over the proceedings. Yes, Migdal Bavel is a noisy, brutal album that could probably serve as the soundtrack to the inner-workings of a criminally insane mind. But there is a technicality to the guitar-work, buried under megatons of toxic debris as it may be, that bespeaks of a method to the madness.
Still, De Magia Veterum is the more chaotic, devastating and downright weird band. It’s not just a case of reflecting synths off against icy riffs – black metal has been doing that since year dot. It’s about sonic subversion. Nothing ever lasts very long – those grand moments of contrast quickly descend into a technical, maddening soup of noise. If a riff carries melody, it is intensified until it no longer makes sense. If rumbling guitars and energetic percussion are, for a change, moving simultaneously in one direction, as on "Curse of Cannan", along comes the bass with a weird and counter-intuitive movement to completely disarray the unity. Neither are the incredible reverberation, distortion and tremolo that of your garage black metal purist – they’re tinged sadistically with knowingness and purpose, slightly electronic, entirely frightening.
www.infernalmasquerade.com:
"Migdal Bavel" is plainly the work of an evil genius, set to turn your brain into a mushy, meaningless pulp with duplicitous layers, fiendish yet buried technicality, and a sense of threat that just grows as the album develops. The combination of outrageous boldness and utter disregard for the listener’s finer sensibilities is incredibly potent, and the term ‘extreme’ metal has never seemed more fitting. All that remains to say is that I’m confident every single one of Hierophant’s crew would enter a paroxysm of fiendish, hateful joy upon hearing this album – it’s unanimously vile, and therefore criminal to miss.
| | Sounds Like | choas is a natural state | | Record Label | Transcendental Creations | | Type of Label | Indie |
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