For most music fans, pleasant melodies are a given and we've all witnessed hundreds of feel-good summer hits come and go, some overstaying their welcome but generally, when faced with an onslaught of similar-sounding drivel, one tends to forget most of them. For every fan of the truly extreme, things are a bit different. You see, there comes a time where barriers need to be broken. Now these barriers may hold out for numerous years, like mine had for black metal but with each new barrier broken, the upcoming ones start posing less and less of a challenge.
So, imagine anyone who did not have this transition hearing Deathspell Omega, Gorguts or Ulcerate for the first time. In my case, the words confusion and overwhelming perfectly describe my initial thought process but with a bit of time and curiosity, I have come to adore these bands and how they utilize dissonance in their labyrinthine compositions.
This is where we reach our main motif for this iteration of the Double Trouble feature - dissonance or rather how Ad Nauseam and Suffering Hour approach it on their sophomores, Imperative Imperceptible Impulse and The Cyclic Reckoning, both of which are among my favorite releases of 2021 and I have my doubts that this will change as the year progresses.
Let us begin with Ad Nauseam, seeing how long we awaited for their return and the slew of acclaim Imperative Imperceptible Impulse received. In many ways it reminds me of the excitement Ulcerate's Stare Into Death And Be Still generated but on a, unfortunately, much smaller scale and I say that because I am of an opinion that this marks a new direction for not just the trio but for the avant-garde death metal scene as a whole. However, given their pedigree, ambition and proficiency they've displayed here, it will be a while before we witness something of this calibre.
As with many bands in the genre, jazz-inspired flourishes, atonal guitar barrages and spastic drumming are the name of the game but Ad Nauseam just hit different.
There are classical tinges lurking between the nightmarish corridors and they manifest mostly during the less cacophonous segments. But do not think for a minute that they'll offer respite, on the contrary, they merely extend the iron clasp that holds you in.
And it's no wonder considering how much Stravinsky, Ligeti and Penderecki I hear during those moments and I am honestly so glad the Italian trio reminded me of their existence seeing how I forgotten the vast impact these three in particular had for modern music and how they paved the way for dissonant metal. Case in point: Ligeti's masterful "Atmosphères".
Another key thing that sets them apart from their peers is the production. It's important to note that this quality was already present on their debut Nihil Quam Vacuitas Ordinatum Est but here their perfectionism is full force. Not only is the mix crystal clear whilst retaining all the punch and power, it employs both channels and uses them to their full capacity. Because of this ever-present spatiality, each micropolyphonic surge, dissonant screech, bass rumble or cymbal hit is audible and considering the density of their work, you'll feel overwhelmed during your first few ventures which makes the return voyages all the more sweeter.
Things look wonderfully grim when looking at The Cyclic Reckoning as well but this is a much less avant-garde affair, with the trio continuing to focus around the riffs which, while technical and odd, always end up sticking and this becomes apparent with revisits as you'll find yourself humming atonally without remembering the name of the track that's playing.
This sensation is elevated further after basking in the full glory that's Josh Raiken's guitar tone. Literally no band I know of has the same frozen twang to it and it's absolutely wonderful. The praise doesn't stop there as both Haseltine and Oberuc contribute just as much in making this nightmarish maze as memorable as it ends up being.
From the production sides of things, The Cyclic Reckoning continues the band's trend of opting for a murky production, akin to Icelandic black metal bands.
Luckily, like with those releases, the murkiness never gets in the way of the instruments, that usually being the bass, rather it accentuates the frigid atmosphere Suffering Hour are renowned for.
At times this escalates to cosmic-like levels of darkness, like on the sublime 16-minute closer "The Foundation Of Servitude" that goes through even more motions than we're used to, ranging from sinister atmospheric plucks, raging atonal assaults and even Darkthrone-esque grooves before ending things on a truly somber and droning note. Basically, it showcases everything the band represents but what they also hinted on their EP Dwell and I could not be happier for it.
Like with our other subject, The Cyclic Reckoning sees the trio progress whilst retaining their strong core and most impressively, both easily avoid the dreaded sophomore slump and add even more dimensions to their already stacked sound palette in their own unique way.
In the end, your preferences will dictate which record will remain with you longer, a shocker I know, but for me initially I preferred The Cyclic Reckoning, seeing how immediate and addictive it is. With time and patience though, Imperative Imperceptible Impulse's rich, unpredictable textures and dizzying musicianship looked more alluring until it consumed me.
At the time of writing, it is impossible for me to pick a favorite and I am frankly completely fine with that seeing the end results.
I am just elated to be living in an era where extreme metal is not only blooming but moving in an exciting direction and in history, bands such as these two will without a doubt be mentioned as one of the key figures in the development so if you haven't, witness the greatness that are Ad Nauseam and Suffering Hour.
Imperative Imperceptible Impulse was released through Avantgarde Music on February 12th and The Cyclic Reckoning through Profound Lore Records on February 19th.