Aux portes de l'agonie

'Aux Portes De L'agonie' is the debut record from the Canadian one man band, Würm. I was introduced to this band by a fellow fan because he suspected that I would love the material. He was right. Although there is a lot of ridicule when it comes to depressive black metal, mainly due to the supposed ’fact’ that most acts these days are purely rip-offs of Norway’s legendary Burzum, there are some genuinely good bands out there, if you search long and hard enough. Having already listened to the 'Suicide Pact' split with Grim Winter, whom I know little about, I was waiting in anticipation for some news about any upcoming releases, particularly a full-length recording. A short time after having discovered Würm I was thrilled to head that a debut was being released. Having had time to digest this record, I still concur with my earliest thoughts at this being a genuine contender for best black metal record of 2007, let alone within the sub-genre of depressive black metal which, at the time, had a serious influx of bands. Würm, fortunately for me, are at the top end of the depressive scale and this record is an indication of why.

So, bring the clocks forward to the day I finally had the chance to listen to Mortenak's debut full-length work and I was greatly fulfilled. Würm are straight up depressive black metal, but they have a certain quality which sets them apart from the norm and the ominous tag of ‘Burzum clone’. The production alone sets Würm apart. It isn’t crystal clear, but is audible, none of the second wave worship is to be found in the form of lo-fi production which sounds like a blizzard of noise. The majority of black metal fans have become accustomed to bands imitating a certain style, particularly that of the second wave, but Mortenak has altered my perception somewhat on the depressive sub-genre just as things seemed to be looking bleak for this rather clichéd style. Würm also have several other qualities which distinguish them from the normality of a formulated sub-genre, in particular, the vocals which have seemingly come under some criticism. The general consensus seems to be that Würm’s vocalist and leading man, Mortenak, is incapable of depicting the true essence of black metal through his vocals, which are surprisingly different from the directionless ‘bedroom’ bands and even some of the more distinguished bands. His vocals, to me, have a ‘Silencer effect’ on Würm and Würm’s music.

By this I mean that Nattramn used inexplicably unfamiliar vocals in an attempt to depict black metal in a truly unique way. His vocals have come under fire, but also have received praise. Music is subjective, and everyone has an opinion on what does and does not sound good. To me, Mortenak’s vocals add character and charisma to the desolate music. Instead of portraying the typical emotive styling of black metal in rasping vocals, Mortenak does this in a slightly less discernible way. His vocals boarder on rasps, but also take influence from what seems to be deathly howls. His voice echoes above the ambient atmospherics and the sullen soundscapes like a wolf howling into the pitch black night. Although they aren’t decipherable (which is the case for most bands of this nature) and even thought they don’t inhabit the most perfect form, they are different and that’s good because it suit’s the records special feel, which is contributed a lot to by the infamous vocals and dissonant production. As you'd expect, Würm's material alters it’s pace in order to shift between moods of depression, pain and suffering, all viable emotive outlets for this Canadian act.

There are fast passages, which are contributed to by the percussion, which relies heavily on cymbals and snares. Then there are mid-paced sections, these tend to be where the majority of the best soundscapes come shining through, like a spotlight channelling negative emotions towards the audience. These sections are where the guitars do most of their best work, often switching from standard tremolo work to far more accessible riffs which conjures stunning imagery, songs like ‘Les Ombres Du Temps’ are perfect examples of the stunning guitar work and finally, the slow drawn out parts, which alter the mood and tone of the music significantly, draw out semi-acoustic passages which enhance the emotional capacity of the music which ebb and flows from one set of emotions to another during this highly emotive art form. There are moments of repetition, but the lead guitar and percussion contain enough variation throughout the long songs to keep the listener away from dabbling with boredom. If nothing else will, the vocals will surely cause some debate. The perfect record to end your life to.