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Leviathan > The Tenth Sub Level of Suicide > Reviews
Leviathan - The Tenth Sub Level of Suicide

That's too many sub levels ! - 60%

Annable Courts, January 9th, 2022

An album like this one has this peculiarity that it will at least not leave the listener indifferent and has the power to challenge the very concept of what music might be in its essence, so a philosophical digression is warranted here or this review can't make sense (not that it will). Extreme metal was always about expressing the more painful aspect of being the suffering artist with a heightened sensitivity to existence, that felt on a deeper level than most. It always meant to be this marginal corner in the field of music where all the unveiled ugliness could come up to the surface, where musicians didn't have to pretend, and where all the existential angst could burst out from twisted inspiration taking shape in dissonance and harmonic chaos. In short, it's the Jungian shadow exploring itself in the realm of rhythm and melody.

Well music, like all art, is cathartic as the various quotes would state, Aristotle among many. I think Homer too (no not Simpson, you absolute sausage). Catharsis means taking something bad or painful, and turning it into something good, or enjoyable. A drama will show the deaths of various protagonists, but that book or film will synthesize a powerful beauty from the pain. It's grabbing the sheer potency behind tragedy and channeling it into something of a greater meaning than the sharp pain from sober reality, processing it into something ultimately virtuous. Yes, virtuous.

What do we do with an album that, despite its certain musical quality in places; and there is definitely real talent on display here; sounds like it's mostly the pain, and little of that "catharsis" effect ? This is such a caricature of black metal it can likely only be taken one of two ways: as seriously as the artist intended, and an experience so depressing it will inspire to contemplate very dark thoughts (which basically every track on here invites the listener to dwell upon given the heavy use of language around "self-destruction") - or - a creative product so exaggerated, so uncanny and improbable, that it would constitute something of an odd comic relief. A bit like horror movies: they're either terrifying and shocking, or they're so over-the-top and begging so dearly for a reaction you'll get a weirded out chuckle from them, even if some aspects in that film were actually good.

So the album is called "The tenth sub level of suicide", every word seemingly putting a deeper dent into the mind as we're reading it (just, ouch), obviously flirting with the listener's morbid curiosity, and the cover art is the single most oppressed character you'll ever see in any fiction, absolutely crushed by the cosmic weight of existential angst and the gravity of all of the universe's worth of torment. And then some more. The poor thing looks like, well, it really could use a vacation doesn't it. Of course the album had to be an hour plus in length, including 9 minute or even 15 minute monsters, because it simply had to. That's just how long true art is. The song titles are no different in that outrageous excess: 'Fucking Your Ghost in Chains of Ice', 'Scenic Solitude and Leprosy', 'Agonizing in this whorish vessel of alienation'. OK I made that last one up.

Mind you, black metal that is merely decent isn't difficult to write. Minor chords, strummed and then occasionally broken up in single arpeggiated notes for atmosphere and then the rough power chord stomps for oomph. Mix it up a little, build some tension. Works like a charm, and there's a fair share of it here in 1hour&10min as one might expect. The better bands in the field do a lot more than just apply this basic formula of course, and a track like "Mine Molten Armor" has a genuinely original musical theme at its core, aptly developed and given the attention in arrangements and structure that someone fully focused on composition would provide. However, a heavy chunk of the album sounds like the work of an individual more interested with fulfilling a narrative, and developing the moods that would fit that narrative - therefor at the expense of the sheer musical composition. Think of how purposely flat and repetitive the tracks feel to mirror that state of existential depletion, and how the music could've been given more attention. Obviously, there was more than just the music at stake.

Are the vocals poignant, or have they gone past that point ? They are certainly grueling, but is it still art when we're subjected to outright tormented cries (ending off 'Fucking your Ghosts...': is that terribly distressing, or slightly comical ?) and then short bursts and chokes amidst the "standard" vocals (standard ?) that sound like someone screaming their lungs out trying to permanently damage their vocal chords in one night ? There's a form of exhibitionism here through the artist's desired proximity with his audience, like he's voluntarily exposing himself completely and establishing a most vivid closeness. This is a bit like someone walking into the room to read their poetry and they just go deeper and deeper into the most excruciating details of their tormented life until it's just flat out descriptive and no longer poetic, and you're just sitting there with a grin. The track 'Submersed' couldn't be described much differently than being a drawn out ode to depression as it has little definition and shows little attempt to be musical, again serving that narrative that the album is really a glorification of solitude and depression, relegating the music to a secondary role relatively, but this depends on the tracks.

After a few attentive listens, it's apparent the album has a vibrant verve of musicality to it, however the parts are often lost in repetition when they could've used more twists and developments, or they're made virtually impracticable by the vomiting on top when it isn't the recurrent ghostly wailing that becomes a distraction fast. The track 'Sardoniscorn' has that spooky instrumental part in the middle that sounds like something one might hear off 'Le Theatre du Vampire' by parody black metal act Notre Dame, but this definitely seems much less inclined to joke around. That part is of course followed by some more utterly unintelligible high-pitched regurgitation over suspended melancholic guitar notes. Like much on this, there seems to be dissonance for the sake of dissonance, and more generally it really isn't terribly difficult to write depressive music if one puts their mind to it.

To reiterate, there is undoubtedly musical talent here, but then: when does it stop being dark, tormented art and when does it become something else, where the artist is trying to make a point that is separate from the fundamental quest for musical accomplishment ? There's at very least surely some of the latter in this, but it could be argued this is a strength of the album - to convey misery in its naked essence to the consumer. This reviewer happens to think the limit is drawn somewhere, and that it's more or less obvious when it's in front of you, and when catharsis in art is no longer operative the artist loses some of their role as an artist and becomes partly an active partisan of some sort and to some degree; when really, a listener/musician is likely only seeking the art. Not always, but most often. The expression of suffering is a major component in extreme metal, but the line is certainly drawn somewhere...where do you draw it ?

The Best Leviathan Album - 100%

CosmicChrisTV, November 18th, 2019
Written based on this version: 2003, CD, Moribund Records

When I first began listening to Leviathan, the first album I heard was Tentacles Of Whorror. In my review of that album, I was certain that was the best Leviathan album. Oh, how wrong I was. I already listened to this a few times when I wrote that review, but after a few days, this became one of my favorite black metal albums of all time. Let's get into the reason for that. This is my review for The Tenth Sub Level Of Suicide.

The instruments used in this album are as follows: guitars, bass, keyboards, drums, vocals. Where do I even begin? Let's start with the guitars. Every single riff and chord progression is damn near perfect. Wrest manages to progress through the album in many different ways. More importantly, he does this in many unexpected ways. One minute, you're listening to the most raw and chaotic black metal you've ever heard, the next minute you're sucked into a cold, blackened ambience rich with atmosphere.

Unlike most black metal albums, you can hear the bass very well. Because of this, you can really tell that Wrest wanted to make sure that every instrument being played would matter. The bass mostly plays the same as the guitar, but sometimes it'll play something completely different. All the while, it still maintains a bestial atmosphere.

Unfortunately, there isn't much to say about the keyboards. Mainly due to the fact that they're not used very often. However, this is a good thing in my eyes. Personally, I cannot stand when keyboards are used in metal music unless it's done perfectly well. Let me tell you, every single time I heard keyboards used in this album, it was definitely done perfectly well.

The drums on the other hand, are possibly the most complex part of the album. Personally, I do not play the drums. Therefore, I wouldn't be able to give that fair of a critique on the drums being used in this album. However, I do understand just enough about drums to realize that they're very well done throughout the entire album. A lot of black metal is just blast beats throughout the entire album. This is definitely not one of them. Wrest uses a few simple drum patterns here and there, but even then he proceeds to use a lot of fills for each of those.

The fact that Wrest plays every single one of the instruments is incredible to me. The drums are not even programmed. That alone should tell you he's an outstanding black metal musician. The best things about the guitars and keyboards is the atmosphere and progression. The best thing about the bass is the fact that you can actually hear it and also the fact that it sometimes plays different from the guitars. The best thing about the drumming is the complexity. I can't think of a single worst thing about any of the Instruments. That's a good sign.

The vocals are mostly high screams. I'm not sure of the exact technique Wrest is using, but it sounds like fry vocals. That's very common in black metal. However, even though he doesn't really do many different vocal techniques, he does do a few interesting things with his voice. At some points, he'll start gagging. Sometimes, he'll even start and stop his voice over and over, creating this really strange type of sound that almost sounds like light static. The best thing about the vocals is the fact that he can make such strange noises that really add to the atmosphere. My only complaint is the fact that they are a bit edited. How so? It's simple really. All he did was add an extreme amount of treble to the vocals. This makes it so that the vocals sound louder than they actually are. I know this, because I've done it many times before.

The production of the entire album is very well done. The bass is given high bass frequency and is compressed. The guitars are given a lot of gain, treble, and low bass and mid frequencies. There is a lot of dissonance used throughout the album, which I really enjoy. Not a lot of reverb, but not all black metal needs to be drowned in cave reverb. I can't speak much on the equalization of the drums and keyboards, because I don't know how that works to be honest. In short, the production is very good.

Let's play a drinking game. Every time I said the word atmosphere in this review, take a shot. If you took that many shots, you should be piss drunk, because the entire album is nothing but raw, dark atmosphere. It's as if the album puts in the mind of someone who is depressed to the point of insanity.

Well, it's about time this review comes to an end, but as always, let's go over the best things about the album, the worst things about the album, and my personal favorite tracks. The best things about the album are the atmosphere, the guitars, and the drums. The worst part of the album is probably the vocals. Even then, the vocals are pretty solid. When the worst part of the album is still amazing, then it's very clear that this is a solid album. One of the best black metal albums of the 2000's. My favorite track is Sardoniscorn. If you haven't listened to the album, go do it now. You will not regret it at all.

My First True Plunge Into The Black Metal World - 100%

eletrikk, May 17th, 2019

At the time of writing this, I have listened to a lot of black metal, but when I first discovered black metal, I did not listen to many songs. Some Mayhem here, a little Gorgoroth there, no full on album listenings. This changed that for good. I was recommended to listen to this by someone, and I am so glad that I took their advice. Dark, moody, a destructive wall of sound with insane playing, Wrest completely dragged me into the world of black metal, and all its glorious, hate filled sub-genres.

To begin with, Wrest is an insane vocalist. His screams are painful and full of hate, like someone screaming at a world that has abandoned them. Instead of being unheard, Wrest is. His cry of 'Your self-extinction' sets the pace for this album right away. Wrest doesn't care about who you are, where you're from, what race or gender you are, or how healthy or not you are. He wants you to fucking die. He is screaming at us for our death. In the world of black metal, I've heard a lot of high-pitched vocals, some done right, some not. Wrest does them the best. High and pained, I haven't ever heard something so raw from another band, which I guess is good. Best vocal performance on this record? All of them.

From vocals to playing, Wrest has it all down. To start off, his drumming is totally awesome. He knows how to lay down a fun and engaging beat, and can show how fast he can play. "Sardoniscorn" and the title track have some totally insane playing. "Fucking Your Ghost in Chains of Ice" is also one hell of a song, kicking off with a hell of a blast beat. His guitar and bass playing is also super good. I am going to say this right now, Wrest is a really fast player, on guitars, bass, and drums. Wrest can lay down some seriously cool licks on guitar and provides some amazing bass playing to back it all up. My favorite part bass wise is definitely the intro to "Sardoniscorn." The bass is super distorted and is super fast, giving it a very unique sound and feel to it. One thing that I am kind of sad about is the lack of solos, but this album really isn't meant for solos. It's meant for brutal playing that drowns out the sounds of the world.

The mixing is raw, messy, very static-y, and a bit spotty, and I love it. This album perfectly encapsulates what a one-man band should sound like. It doesn't need to be perfect, it just needs to be good enough to make it sound amazing. The guitars and bass have a metric fuck-ton of fuzz to them, sounding like some sort of chainsaw. Now, that analogy was probably used a lot, so I will not be using is again. Each song pretty much has its own kind of mix to it, "Fucking Your Ghost" and "Sardoniscorn" are different from "Submersed" and "The Idiot Sun," but that just gives the album more charm. The vocals actually remind me of Filosofem quality wise, but are still better than that mixed bag. One of my only true complaints are the drums, and they tend to be on the quite side. It doesn't affect the songs all to much, but I can give it a pass.

The lyrics provided by Wrest are truly miserable. They scream about suicide, death, misanthropy, and occasionally want you to die as well. Na, it is all the time. While screaming about their end, Wrest wants you to join him. Join in on the despair, the gloom and doom, and he will 'meet you with war.' There is truly no escape for you. Now, I need to talk about the album's closing track. "At the Door to the Tenth Sub Level of Suicide" is probably the most bleak black metal song I have ever listened to. Scratch that, the most bleak song ever. This song is the epitome of suicidal thoughts and tendencies. You can make all the sad music you want, you can spread your own despair though other means, but it will simply not live up to this song. Even if you told me that this song you or someone else made has caused people to kill themselves, this song would still beat it. It doesn't care about you, it just wants you dead.

So, in all, The Tenth Sub Level Of Suicide is probably one of the greatest black metal records out there. It is dark, melancholic, angry, and certainly wishes you were dead. Wrest's vocals convey that of man dead to the world, screaming at it for him to die, and wanting to take everyone else out as well. His playing provides a sense of urgency unheard of in black metal, and the production is dark and evil. The lyrics are screaming at you to end it all, and wish you were fucking dead. An amazing album right here. Get it now!

Black metal perfection - 100%

princesstama, September 2nd, 2018
Written based on this version: 2003, CD, Moribund Records

Now, I've tried to avoid writing reviews for Leviathan because it has become such a immense part of my musical tastes and it's such a renowned piece of art that I don't want my bias for the band's content be a hindrance towards giving it a fair grade however, something in me is telling me...no..commanding me to write one for the arguably greatest material that Wrest has ever released. For the record (no pun intended), All Leviathan material in my opinion is automatic eargasms. However, this is on entirely different platform on it's own.

From the cold, macabre, meticulously crafted sound and lyrics to the heartbreaking crying screams and wails. This is what black metal should be. The intro gives you a good look at what you have in store for you. A few 18-24 seconds of unfathomable bliss only to be rudely interrupted by this jumpscare echoing and Wrest telling the audience "There is no light for you at the end of the tunnel" which then erupts into a violent, explicit song which sounds as if it could put end to Antarctica let's just say. It's smart. It's fresh. It's deep. It's immense. There's nothing like it. Even after countless playthroughs, the very halloween-esque feel of this album never gets old. Though, to be fair, all of Wrest's music (aside from some earlier releases), have the same atmosphere. Let's also talk about how fresh the songwriting is. Say what you want but Wrest's lyrics are anything but the typical anti-christian, satanic, Scandinavian psychobabble (well, at least not this album). Can we also talk about how there isn't a single negative review of this album thus far? It brings me to tears.

No matter how difficult I try to find the tiniest flaw, I'm at wit's end in the action. It's able to put you to sleep (in a good, relaxing way) with it's ambience but at the same time, there's still plenty of cathartic, raw riffs so that the album never loses it's sheen. I could go on and on about how delighted I am that this album exists but aside from all of this, I truly believe there is a deeper message behind the album and Wrest's music in general. At face value, this album maybe be the biggest pile of negativity that mankind has to offer but if you read in between the lines, it offers you the most comfortable warmth and kindness that you will ever hope to receive. It goes without saying there is an entire plethora of pain in this album but in the essential grand scheme of things, the album encourages you to be a better person than you are and spread as much positivity as you are able to.

I can't recommend this shit enough. It is a must-have. Even if you don't like black metal, it is a must-have. Even if you don't like metal at all, it is a must-have.

Depressing. - 90%

Morbe, April 19th, 2018

The Tenth Sub Level of Suicide is a horrifying display of emotion. Ire, depression, and contempt echo through the raw production of what can only be described as truly dark and foreboding black metal. A brutal display of the darkest corners of Wrest’s mind. In his own words: "It's about different phases/levels of contemplation towards an action. The act of self-extermination", "All the lyrics, for the exception of [track] two, are about suicide, in one form or another."

The instrumentation on this album is overbearing and in your face, not to mention very angry. The guitar and the bass are drenched in distortion. The drum riffs composure are simple but incorporate variation (as Wrest is self defined as “A drummer” over any of the other instruments he plays). “The Bitter Emblem of Dissolve” over “At the Door to the Tenth Sub Level of Suicide” is a good representation of this. On the note of faster tracks, wrests blast beats are impeccable; and the incorporation of the strangulated cries of anguish shown on the tracks really hammers in the utter brutality of the music. The expansive range of vocal style and usage of standalone instrumentation tracks on some of the songs really give it atmosphere; I honestly would consider this borderline atmospheric black metal due to the lyricism and overall composure of the songs.

The lyricism as stated in the first paragraph is all in great reference to suicide, and the power of the darkness inside his own head (as he tried to kill himself after writing this album). I find it to be almost too abstract; however, it gets the job done for the music. Acting as if the man himself is so broken in his mind that he can no longer form cohesive thoughts. The fantasy element is mildly prevalent however, with the lyrics on the last track representing an end to the journey to suicide.

This album is fucking brutal, just about as “trve” you can fucking get out of the genre of black metal. Its an accurate journey through Wrests head, and the pain that he perhaps experienced. Maybe not as atmospheric or diverse as some of his later works like Scar Sighted or Massive Conspiracy Against All Life but it is a powerful album, more powerful than I think it is given credit for.

90% easily, I’m into it.

One of the Blackest Black Metal Albums Ever Record - 100%

raynorkap, January 27th, 2017

Wow.

When it comes to the "blackest" black metal bands let me just say that Leviathan has to be one of the most overlooked bands in all of its history. This band has amazed me since hearing about them. It just blows my mind that someone can write something filled with so much melancholy and hate. Wrest (aka Jef Whitehead) has a great understanding of black metal and how it should sound. Each track is as dark and dreary as the next with a heavy focus on atmosphere. Leviathan is not only one of the greatest black metal bands in North America, Leviathan is quite simply, one of the greatest black metal bands of all time.

To understand where Wrest is coming from with his approach towards black metal, you have to understand where hes comes from as a person. Growing up having abusive parents, Wrest was put in group homes as a teenager and was getting kicked out of every home when he was put into. Eventually he was homeless and living with friends. Dealing with depression and suicide attempts, he was able to find an outlet for his pain through Leviathan. Giving us some of the most personal and depressing black metal ever recorded. As Wrest has stated about this album,

"All the lyrics, for the exception of [track] two, are about suicide, in one form or another"

You end up getting a feeling of blackness from this album like you're stuck in a void and the only way out is suicide. Its all very atmospheric, nihilistic, and personal. The only other band I get the same feeling from is Shining from Sweden. Both bands are very personal with their lyrics and appeal. But I think Leviathan takes the cake in terms of atmosphere and execution.

The instruments on this album are all very well done, Everything was executed with care and thought. Wrest really wanted this album to stick out from a barrage of black metal albums that were already released at the time. It all sounds very angry and chaotic like angry ghost fighting among themselves. Its original in terms of execution and takes notes from the Norwegian black metal forefathers of yore. If there's one band I could say that its reminiscent too it would be Darkthrone. Specifically the album, "Transilvanian Hunger". From the aggressive drums, to the clashing of the guitars, It all seems very familiar but original. But I think the moments that really stick out are on the slower songs like "The Idiot Sun" and "The Bitter Emblem of Dissolve". The slower tempo leaves more room for the atmosphere to settle in and for you to succumb to it. Another thing about the album that sticks out is the use of the bass. The bass has some great moments in this album which isn't too common for it to stick black metal and while it isn't a full on bass fest, it definitely has its moments. Specifically in the songs "Sardoniscorn" and "The Idiot Sun". There are parts where there emphasis on the bass and it done correctly. I would also like to touch on is keyboards. Keyboards are used in this album to create a drone-like ambiance that encompasses the elements of dark ambient and mixes it in with the aggressive black metal present on the album. There's a track on this album that is solely a dark ambient interlude by the name of "Submersed" That acts as an "intermission" for the mid point of the album. The last thing I will touch upon is the vocals. They are what ties the album together and gives it the darkness it emits. From the first time you hear them in "Fucking Your Ghost in Chains of Ice" to the 10th and final track, the vocals I would have to say are my favorite part of this album. There just something about the that embraces a cold-chilling loneliness to them. They sound so angry and so tormented it actually reminds me of Varg Vikernes from Burzum and how he would do his vocals for his black metal albums. Overall, the instruments are all solid and the composition of songs are flawless.

Overall, this album is a MUST have for anyone that's a fan of more darker black metal. The composition and the execution alone make this album worth owning. But there's so much more to is as well. It takes everything about black metal and reinvents it into a new demon. Wrest is one of the most brilliant minds in black metal and has produced some very quality material albums over the years. But to me, this album remains the strongest effort hes ever released.

Recommended Tracks:
Just listen to the whole goddamn album!

One word: SCARY! - 100%

BlackMetal213, November 10th, 2015
Written based on this version: 2003, CD, Moribund Records

Yep, this is Leviathan's debut full-length album. Entitled "The Tenth Sub Level of Suicide", this album is an abyss of misery, spitefulness, hatred, and horror. Yes, this is indeed a full-fledged black metal album, but it's more than just that. Released back in 2003 after numerous demo tapes, this is Wrest's first actual album. It is clear the guy is a talented musician and that shows on every single release he has ever put out. Here on TTSLOS, the listener is treated to an absolute monster of an album. It's easy to see why this is often listed amongst the greatest black metal albums ever made.

"Leviathan's not that fast, but it's as fast as I can play". -Jef Whitehead (Wrest)

The above quote really does describe the sound of this album quite well, in a way. While there are moments of ferocity and speed, such as in "Fucking Your Ghost in Chains of Ice", this album is extremely effective when the music is played in a slow, almost ambient fashion. "The Idiot Sun" is the second longest track on the album at 9 and a half minutes in length, and showcases a perfect example of this. The album's crowning gem, however, is the self-titled track. Clocking in at over 15 minutes, it delves deep into the tortured mind of Wrest and shows how fucked up of a guy he must be. This song adds a bit of an ambient effect which adds to the depression and melancholic atmosphere this album puts out. I can't necessarily call this a DSBM album, but it could, in a way, be described as a "suicidal black metal" album. It doesn't sound like a lot of DSBM, but it is DEFINITELY suicidal.

Drum-wise, Wrest does not use a drum machine like a lot of the bands Leviathan is compared to. Instead, he opts for an electric drum kit. It may not exactly be a standard acoustic drum kit, but it does require the same level of skill to play. Wrest has even said in the interview "One Man Metal" that if Leviathan was to ever theoretically play live, he would play the drums. Judging by this, it's fairly easy to assume that his favorite instrument is the drums. They vary from slow beats to mid-paced rolls, to insane black metal blastbeats. This goes back to the aforementioned quote earlier in the review. There is nothing out of the ordinary here for black metal but that is completely okay and totally expected.

As I stated in this review's title, the music here is...scary. And man, is it effective! Wrest's vocals are truly something else. In fact, even more so than the guitars and actual music, they are the most unique and original aspect of this entire album. They sound like tortured screams straight out of the lowest depths of Hell. It is as if someone is being impaled repeatedly by an unbearably hot iron rod. In fact, they almost sound non-human in a way. If you came here looking for high pitched screaming vocals that sound like early Burzum or Sterbend, you are looking in the wrong place. The vocals here are nothing at all like that, and it is a welcomed change. I cannot think of any other vocalist to compare Wrest to because he definitely stands out on his own.

Overall, this is definitely one of my favorite albums ever recorded, and a true testament to the "suicidal" black metal genre. It can be considered the start of Leviathan's career in terms of full-lengths, and while none of his following albums quite reached this level of creativity and horror, Wrest has still managed to follow it with five albums of amazing misery under the Leviathan name. Also, check out Wrest's other project, Lurker of Chalice.

Communion with angry ghosts. - 84%

ConorFynes, March 27th, 2015

It is fascinating that an album like Leviathan's debut The Tenth Sub Level of Suicide is able to sound so raw and unhinged, yet in a near-paradoxical contrast, is so clearly the result of some meticulous attention to detail. Wrest has given the most lo-fi material in his discography the care and focus of a real composer, and it's a large part of what has distinguished his work from that of many of his less ambitious peers. Even with a decade-plus of countless albums, demos and splits under his belt, The Tenth Sub Level of Suicide still stands as one of Wrest's stronger recordings. It sounds like he made this album with one foot already in the underworld; while it may not be as consistently tactful and engaging as some of the work Leviathan would do in the future, it is forged from a point of sincere despair and anxiety.

Unlike so much of the black metal albums that preceded its 2003 release, Leviathan's debut eschews the go-to Satanic and pagan imagery in exchange for the far more personal subject of grief and self-loathing. And unlike so much of that which has come to fruition in more recent years, it doesn't let itself get caught up in quasi-academic occult mad libs. The Tenth Sub Level of Suicideis wrapped in a vast atmosphere. Lo-fi Second Wave-isms (including the to-be-expected tritonic chord formations) are fused with unlikely traces of melody and a dark ambient body just as well realized as the project's metal side. Leviathan's expansive soundscape is parried by Wrest's emotional directness. His hopelessness is manifested at a lyrical crossroads between the subject and the supernatural; ghostly metaphors for human depravity are aplenty here, and their continued use never seems to dull their effect. Perhaps I'm alone in feeling this, but the idea that there are spectres out there that want to manipulate you into killing yourself never loses its chill.

At the point of this album's release shortly after the turn of the millennium, it could be argued that both Leviathan and the USBM scene in general were still under the influence of Europe. Ties could indeed be drawn between this and the longwinded approach of atmospheric legends like Burzum. Even with the debut however, I think Wrest was going some lengths towards establishing Leviathan beyond the constraints of his influences. The most haunting development on The Tenth Sub Level of Suicide is Leviathan's seamless marriage of black metal with the tools of dark ambient music. The two styles had been closely paired (and effectively so) for quite a while before Leviathan came along, but there are few acts I can think of even today that paid respect as much to the latter as to the former. Much of the album's hour-plus is dedicated to the go-to blastbeats and raw guitar fuzz, but Wrest will occasionally bolster this with the muffled sounds of apocalypse churning in the background.

Wrest immediately established himself as a skilful composer with The Tenth Sub Level of Suicide. The sight of ten or fifteen minute compositions in a black metal context usually implies the use of maddening minimalism and repetition-- while there are a few artists that can employ that to wondrous effect, it's generally more daunting to approach those lengths with dynamic composition in mind. Even when the compositions do lean on repetition, Wrest keeps the sound in motion; be it through a modified drum loop, a new layer of harmony, or the presence of his bone-chilling ambient textures. I actually think The Tenth Sub Level of Suicide might have been even better with a greater focus placed on the ambient soundscapes. Wherein most cases in black metal the ambiance seems there merely to pad the black metal dish, the mental imagery here is compelling enough to have made the ambient satisfying enough to be served on its own.

While this sort of would-be criticism is nigh-inevitable for a debut album of its length, I do wonder if The Tenth Sub Level of Suicide could have expressed just as much in less time. Wrest's tortured howls, the eerily melodic guitars and poisonous atmosphere never lose their power, but a lot of Leviathan's Second Wave-derived riffs can feel interchangeable. Fast forward over a decade, and in spite of whatever last-breath indication that was given here, Leviathan is doing well, and more alive than ever. Wrest would go to work with a bolder palette of sounds with Massive Conspiracy Against All Life and the masterpiece Scar Sighted, but there is an atmosphere here that the passing of years have not served to dull or deaden. In a dreary landscape of impostors, The Tenth Sub Level of Suicide actually feels like an honest artistic manifestation of the horrid feelings it reflects. It's a surprisingly rare impression to have with a black metal album, and all the better as a result of it.

Climb into the Nil Realm - 98%

tomservo, January 24th, 2014

Maybe I'm a latecomer but this is the album that piqued my interest in one-man black metal from the United States. Not only am I continually impressed by DIY musicians who handle every aspect of their art, but with this album specifically I had my hair blown back at how every instrument was performed with such proficiency. At this point, we already know that Wrest is a fantastic drummer. His technique, patterns, and usage of fills are distinct enough to make himself identifiable on other projects he's participated in such as Twilight. Tenth Sub Level really gave me a large appreciation for Wrest's musicianship entirely.

Amid the screeching chaos of the guitars, one can still clearly hear the bass guitar, nuanced drumming, occasional synthesized melodies, and the varying vocals used. Every song has a unique flow to it, and the album in its entirety flows together nicely both as something conceptual but not so much that picking out a random track to listen to would feel out of place. Tenth Sub Level is not a lazy album that falls into generic black metal methods, yet on the other end of the spectrum it isn't trying to be radical for the sake of it.

One of the most distinct signatures for me is the vocals which span between low guttural growls and demented mumbling, to piercing shrieks and wailing. As prominent as the vocals may be, they can sometimes feel disconnected from the music depending on their need for delivery. Some of the slower moments, such as on "The Idiot Sun" draw a larger distance from the otherwise prominent performances. This contributes to the many dynamics already present on this entire recording.

No song has the habit of overstaying its welcome. Just as a fiery riff has been repeated thoroughly enough the song might go one of two directions: either raising the stakes with increased intensity, or to blur out into moderate plodding before exploding into the next measure. This gives opportunity to breathe a little bit between the largely relentless songs without ever growing stale. Another great aspect of the slower moments gives the bass guitar a chance to really shine, and sometimes even feels like a preview of what would ultimately create such a unique mood on Lurker of Chalice.

With all of that said, my favorite moment on the album to this day is still on the final track. About halfway through the relentless blast beats, rolling fills and closing guitar melodies, the drumming stops, the bass guitar fades out and we hear an echoing percussive sound. The guitar tempo slows down greatly and from here the rest of the song slowly builds up, adding one element at a time, slithering bass guitar, funeral paced drums, second guitar. The finale of the song explodes starting with a few snare hits and one of the most mournful riffs I have ever heard. The vocals shriek at a higher intensity than any other preceding moments. Despite the processing, you can hear his voice strain on some of these shrieks, making this finale to me, a particularly authentic moment on this recording.

A voice to drown out
Taken in mine own hand
A blade, a rope, bitter poison
Climb into the nil realm


One of the many profound questions we humans can ask ourselves is "should I kill myself?" Although the layers of answers to this question may not be what one would want, the experience of sincerely contemplating that act, not just crying for help, is certainly part of the human experience. This is what makes The Tenth Sub Level of Suicide such a genuine experience for me, because this idea is flirted with in such a vulnerable manner. Beneath the stoic posturing and often inhuman aesthetic of black metal, the real worthwhile material for me tends to be absolutely human to its core. This album is written and performed with relentless heart and it shows.

The Tenth Sub-Level of Suicide - 83%

Tomb_of_Cunt, February 28th, 2013

First of all I want to say that this album has a great title. The title is much more than just something containing shock-value; it is in fact addressing a dimension of suicide that is mainly considered taboo in everyday society. Furthermore, it deconstructs the concept of suicide in the sense that it explores suicide as an aesthetic concept that is so complex, that it literally has sub-levels, let alone levels.

Leviathan launches a subjective journey into the idea of an outsider reflecting on suicide. Throughout the album a whole lot of psychological concepts manifest themselves via the implementation of desolation, solitude and general anxiety. The vocals are the most outstanding of the whole album – they rip through my soul every time I listen to this album. The guitars are very basic black metal styled riffs combined with the usual fast-paced drumming. Still, the guitars contribute to the general dark aura of the music – on “Sardoniscorn” there are fast parts that are constantly broken down into slower parts containing rhythmic riffs combined with slow picking. I also like the bass playing on this track – the bass is brought forward in a strong sense on some parts. I want to emphasize this, because a lot of bands play bass, but the guitars dominate so strongly that you don’t really hear the bass. Why use bass then?

Luckily, there is no stagnation concerning the basic fast-paced guitars. On some tracks the guitar riffs have an almost ritualistic sound that is drenched in a sea of slow poison. Leviathan succeeds in composing a sick symphony of aesthetical desolation. The music literally incarnates as the voice of desolation which makes this album hard to listen to. I don’t mean hard to listen to in the negative sense of the word; in fact, I mean to say that the general uneasiness that comes out in the honesty might be too hard to bear for a lot of us in a psychological sense. Leviathan doesn’t want to entertain; it’s something much deeper and more complex than that – the idea of the music is rather to implore you to search your own soul and mind. While you are searching, you start to open up wounds. You experience pain and the more pain you experience, the deeper you dig. This is a philosophical idea that goes back to Theodor W. Adorno’s idea that the best art is non-conformist art that makes you feel uneasy.

I was scared that I might begin to get bored as I got to “He whom shadows move towards”, because it felt like this was just another track filled with quite a lot of black metal clichés. But that was not the case, since the next track titled “Submersed” is a dark ambient kind of track that gives a bit of a welcome break from that. The rest of the album is fresh in the sense that there are a lot of different styles thrown into the mix. Low-tuned guitars are altered by more high-pitched picking and riffs. The drums are mostly used as background rhythm, but still have an interesting way of mixing with the intensity of the vocals. The intensity just gets better in the title-track where another ambient kind of approach is suddenly thrown into the mix.

In general, I think that this album is much more than just musical. Music is supposed to embody a strong and unique aesthetical philosophy wherein the work of art literally becomes the philosophical concept itself. In my opinion, Leviathan has succeeded with this is more than one way.

Entire album is solid from start to finish - 90%

NausikaDalazBlindaz, April 30th, 2012

"How low can a person go?" you might ask - well, according to the one-man band Leviathan, a person can go very low indeed, at least where this album's concept and lyrics are concerned. In Wrest's view, death and hell are inevitable and should be accepted, maybe even welcomed, and life and hated humanity should be shunned. A tragic grandeur is the hallmark of this music even at its most aggressive and thrashy and the anger and furious pace prevent it from sounding self-piteous even when everything seems most desperate. Production is foggy as though Wrest is screaming and playing in a huge cavern behind a thick steel prison door but our man forces the situation to turn to his advantage by creating a distinctive black metal universe and turning those echoing monster screams into something very unearthly. The music flows very well and Wrest maintains a solid and consistent standard throughout the album.

Even though the pace is extremely fast, this is a highly melodic recording and some tracks like "Submersed" have an atmospheric beauty and majesty. I sometimes wish there were more moments of ambient icy-winter soundscape wonder on this album but Leviathan seems happy playing a style of music that combines traditional song-based heavy metal elements with black metal. Some melodic passages don't sound all that original but appear to be derived from a general universal formula and I have the impression that Wrest acquired considerable classical or other professional music training before answering the call of black metal and making it his vocation.

The major achievement here is how Wrest makes creating his own operatic black metal cosmos look so easy and natural. Everything is solid from start to finish with no filler track and nothing can be faulted. With every song contributing to a perfectly built edifice, Wrest is to be commended but, contrary creature that I am, I find myself wishing that he could have allowed the odd eccentric worm-hole or two to be burrowed in his perfect universe. Sometimes a work can be just too perfect and the odd imperfection can paradoxically lift it to an even greater height.

An original version of this review appeared in The Sound Projector (Issue 14, 2006) which is now no longer in print.

And a Thunder Coils to Clear a Path... - 100%

Kormdaeonthoth, June 25th, 2011

Leviathan's The Tenth Sub Level of Suicide is a scathing and caustic whirlwind of feral black metal negativity, replete with unnerving ambient passages and a surprising sense of melody that, while showcased on various past releases (Demo 5 and White Devil, Black Metal come to mind), seems not to have been fully realized or implemented until this release.

Using often times simple guitar and bass picking patterns, Wrest, the entity behind this specific burnt-black wall of sound, builds layers of hellacious chaos by adding percussive flourishes for texture and vocals so desperate and visceral that they can, on occasion, make you wince in sympathy. He understands incredibly well the importance of building tension and the catharsis of release (though the music rarely lets up), and each song exhibits his talent at blurring the fine line between rage and sorrow, as the two are not mutually exclusive.

The atmosphere on this record is fucking undeniable, and, in the end, that's what Leviathan (and Lurker of Chalice, for that matter) have always been about. Somehow, perhaps via faculties that most of us cannot comprehend, Wrest is able to channel an unfiltered deluge of hatred, frustration and unhinged nihilism onto cheap cassette. Though the masters have been cleaned up, the familiar hiss, whir and pop of the tape deck is ever-present. It adds a sense of organic immediacy, and as each song ends you can't help thinking to yourself, "This guy really fucking means." Far from typical black metal posturing, Wrest drives his home his point with the force of a fucking lava vent.

The Tenth Sub Level of Suicide is one man's plaintive cry for the world to wake up. Well, maybe plaintive isn't the apt adjective. He seems, throughout much of the lyrics, to glorify not the act of taking one's own life, but the power of choice. The choice to hate or love, to ignore or shout down, to strike quickly or slither timidly into the shadows. More than anything, The Tenth Sub Level of Suicide is about truly understanding yourself and the things that bring you contentment. In the case of one Jef Whitehead, such satisfaction comes from knowing that at any time, he could walk, head held high, into the finality of eternal blackness, blood dripping from his wrists with every step.

Stand-out tracks: Fucking Your Ghost In Chains of Ice, The Bitter Emblem of Dissolve, At the Door to the Tenth Sub Level of Suicide

You Belong to Us... - 93%

Wilytank, September 19th, 2010

Welcome to your death. It's dark all around you. Suddenly, you see a light. You slowly move toward the light feeling warmer and happier as you move closer to it. But just as you get within grasping range, you are quickly picked up and taken backwards, away from the light, by an ominous force. Besides your own wailing, all you hear is a demonic voice uttering one line:

"There is no light for you...At the end of the tunnel..."

Leviathan's first official full-length release has nearly everything you need to experience from black metal's darkest tones. It's sole member Wrest has expertly pieced together furious riffs, tortured voices, and even added some well placed dark ambient passages for good measure.

On one end, you have songs that are almost entirely composed of furious riffs such as "Fucking Your Ghost In Chains Of Ice," "Scenic Solitude and Leprosy," and "At the Door to the Tenth Sub Level of Suicide." Wrest can make some really catchy riff passages in those songs particularly the "refrain" riff in "Fucking Your Ghost..." Wrest also got away with not repeating a riff passage on the fifteen minute long finale "At the Door..."

However, I think his best job on the album is shown on "Sardoniscorn" and "Mine Molten Armor," both which have a particularly chilling mid-section break. Each of them start out aggressive and eventually come to the break; but while "Mine Molten Armor" eventually rebuilds its speed for the blastbeating finish, "Sardoniscorn" stays a little slower repeating a few verses until Wrest utters "Kill Yourself" at the end.

"The Bitter Emblem of Dissolve," "He Whom Shadows Move Towards," and "The Idiot Sun" are all slower paced and desolate sounding which fits well in some places but gets kinda tiresome at others. "The Bitter Emblem..." fits the style the most perfectly but mostly because the black metal only goes on for three minutes before the dark ambient takes over. "The Idiot Sun" is simply a somber sounding song that sends chills down my spine, especially with Wrest howling "self destruction universe" at the end. Even so, if I'm eager to get to the final song, I usually end up skipping "The Idiot Sun."

'The Tenth Sub Level of Suicide' is one of the best US black metal albums released. Wrest has given us some of his best work in this album. Black metal fans should be prepared to fork over their cash if they hope to obtain this CD. I luckily found it for around $11.99 at a store and even then it was used.

A - 97%

Lyrici17, October 28th, 2008

“The Tenth Sub Level of Suicide” is an enormous monster of size, strength, and power - just as the band’s name would imply. It’s also a monster of slight beauty and a whole lot of bitter ugliness. Truth be told, “The Tenth Sub Level of Suicide” is an uncomfortable album; I would never describe it as tranquil. It stresses a certain mood, and that mood is not a positive one. However, while the mood it circulates may be a dreary one, that mood is consistent, and that’s one of the things that makes this album work so wonderfully.

This sound is achieved by the sole member of Leviathan: Wrest. Sure, it’s not terribly uncommon for a black metal band to have only one member. However, I don’t think I’ve ever listened to a black metal album, performed by one person, that has been played with so much talent musically. He’s not a virtuoso at any one instrument, but he is easily well above average on all of them.

First, let me start with the drums. The drums are pretty solid overall. They definitely aren’t flashy. They do, however, have no problem getting the job done. The blast beats are played with vigor and dedication. However, the album isn’t just constant blast beats. There’s a lot of mid-paced drumming, which, while not as impressive, definitely fits the overall sounds of the album considerably well. Furthermore, I really liked the regular use of cymbals. Sans hi-hats, I think cymbals are terribly underused in metal (especially black metal). Wrest uses an above average amount of cymbals, and he uses them quite competently.

Wrest’s vocals may be the strongest point of the whole album. Leviathan would not be the black metal monster that it is without the vocals. They’re easily some of the best that I have ever heard. His shrieks are inhuman and reek of anguish and misery. Wrest sounds as though he is being tortured, which is, surely, what he’s going for. Often he uses several overdubs on the vocals, and has them beginning and ending seconds apart causing a very layered (and effective) wall of sound. He also occasionally just throws in random howls of suffering, grief, and utter pain (they're all over "Scenic Solitude and Leprosy"). One of my favorite aspects to his vocals, is this thing he does where he starts a superb shriek only to let that same shriek rise and rise in volume, tone, and power (0:36 in "Fucking your Ghost in Chains of Ice" is a great example of this).

The surprise performance of this album is the bass. The bass does a solid job of keeping the rhythm of the songs going and letting the guitars do their best to display an eerie and depressing mood. The bass isn't just playing basic parts either; quite often they're pretty damn impressive (without getting into the bracket of being overly technical). Even though the bass plays the backseat role pretty much the entire album, it does so valiantly and is absolutely essential to the album's success. It sits in the background and (at least somewhat) quietly takes the album from the beginning to the end on it's back. Is the bass the most important part of the album? It certainly isn't, but the album wouldn't be nearly as good without it. 2:35-3:30 in "Scenic Solitude and Leprosy" is a pretty good example of a section that, while seemingly dominated by the guitar, is being driven by the subterranean bass sound. Every time I listen through this album, the bass impresses me more and more each time.

Now Don’t get me wrong here, I’m not saying that the guitars aren’t doing some heavy lifting, because they undoubtedly are. Take the first couple of riffs at the start of "Mine Molten Armor", They're absolutely blistering. Then at 2:22 in the same song Wrest slows it down and plays a little a creepy riff. Both of these are good examples of how Wrest is constantly using the guitar to create a feeling of melancholy and pain. As you might expect, the guitars abuse tremolo picking causing a general sound of discordance. Wrest does a pretty good job of changing up his riff style (sometimes playing a semi-groovy hooks, and sometimes sections of almost pure beauty), but in the end, Wrest’s guitar strength is reliant on his ability to create unnerving, happiness-shattering riffs. Some of his riffs just ooze with agony and sorrow (0:58 "At the Door to the Tenth Sub Level of Suicide" is a perfect example of this).

One thing that I found to be interesting was the use of keyboards. They’re not used heavily, and when they are they are usually during beginning, ending, or interlude type sections. I found this to be a very strong trait. While, I think keyboards are good at adding ambience, and a lot of time, mood, I think here Wrest has discovered when they're good for complimenting a section, and when he should just let the other instruments do their thing.

The arrangements of the songs are another strong point of the album. Even with most of the tracks being five to six minutes or more (with four being over seven, and "At the Door to the Tenth Sub Level of Suicide" being over fifteen) I never felt bored, or that the songs were dragging on . This has a lot to do with the arrangements. There's enough new stuff going on all the time, that I'm never given a chance to feel as though a song has gone on for too long.

All in all “The Tenth Sub Level of Suicide” is one of the better records I’ve heard in a while. The music is interesting and well-played. Yet, in the end, the album is great because Wrest has done a superb job of painting a terrifying picture of horror - which makes me listen to this record over and over and over and over.

This album made me gay for Wrest - 100%

Earthad1000, October 12th, 2007

Slowly but surely, Leviathan's Tenth Sub Level of Suicide has worked its way to be one of my favorite albums of all time.
I can't explain what drove me to really pursue this album, but I did and it completely
consumed me. I truly love this album, and within a year of my life I do not think I went one day without listening to it.


Leviathan plays a raw, atmospheric, dark, and ambient style of black metal. It is hateful, mournful, depressive and destructive. While it is labeled as "suicidal black metal" it is more moving and powerful than any other album in the genre, and it manages to do this without sounding cliche. Even some of Wrest's lyrics are impressive.The production is raw and gritty, which works extremely well here. With the given production the album gains a depth that is unmatched in my eyes(or ears for that matter). Tenth Sub Level requires multiple listens to catch all these enthralling melodies and pieces of ambiance. While the spotlight is typically on the guitar, the keys and the bass are just as important in setting the ambiance and atmosphere.


From the intro until the closing second on the title track, The Tenth Sub Level of Suicide is guaranteed to be one of the darkest and complete albums you will ever hear. Each track flows perfectly, even though some tracks are more aggressive than others( Fucking Your Ghost in Chains of Ice and Mine Molten Armor) they fit the mood and tone of the album perfectly; they also provide a nice counterpoint to the slower or more 'moody' songs.


Not only is Wrest one of the most competent composers of metal, he is also a gifted musician. Wrest is able to drive each song with amazing vigor while behind the drum set. He goes from typical blast beats, to great off time sounding beats, and everywhere in between. I love the drumming on this album, it fits each song perfectly. This album is full of beautiful, catchy, minor riff melodies. As mentioned earlier, this album would lack all atmosphere if it weren't for the synth and bass. While most bm albums have a bass somewhere in the background, the bass shines through plenty here(Scenic Solitude And Leprosy and Ye Whom Shadows Move Towards) and provides strong bridge work for the guitar to cover. As expected the synth holds up a lot of the ambience's, in fact the ambient track "Submersed" is one of the best tracks on the album. And finally, the last instrument; the voice. Wrest's voice is disturbing and frightening. At times it seems
toyed with thanks to some studio magic, but it's still chilling and perfect for the album.


The Tenth Sub Level of Suicide is a masterpiece. Few albums in my mind even compare, it's also an album that is extremely consistent and should be listened to from beginning to end. This album deserves endless praise and is highly recommended for any fan of black metal.

Kill Yourself, You Belong with US! - 73%

RickJames, June 5th, 2006

Among the head of the Californian black metal horde, Leviathan surely is a strange breed stirring a strange brew, with Leviathan’s one man ghoul Wrest combining his own special hybrid of black metal, dark ambient, and post-rock riffs, furthermore among truly alienating atmospheres (which is added by keyboards; quite tastefully used in most respects), both grotesque and majestic, sometimes simultaneously.

Now this is where things become fairly difficult; The Tenth Level of Suicide works well in some areas and struggles in others just the same. To have a proper analysis in order, I’ll be dissecting areas to subject them to the most effective examination.

Songwriting

The blueprints of all of these songs are structured with good intentions, but some of the songwriting works much more in favor for some songs than others. Many Leviathan fans might know well that Wrest doesn’t pull any punches when it comes to changing up the songs to prevent stagnation; this album is chock-full of riffs. Many times however, I notice some passages of songs to be tedious; there is no sufficient buildup or climax in some tracks. That’s a part of the formula that seems to be missing, and many times there are just successful bridges into other parts of the songs. The entire contents however don’t lack all intensity. There are all sorts of noises, textures, and atmospheres present that give the songs a degree of intensity as well as interest. I might say that my personal favorite would be “Scenic Solitude and Leprosy,” the albums fifth track, for the great succession of riffs and smoother transitions. For example, “The Bitter Emblem of Dissolve” gives off this feeling of being in a decrepit cathedral in a night raging with storm, before giving away to this desolation of emptiness, one of the successful ambient backdrops that Wrest uses to good advantage. In other displays, “Submersed” gives that eerie and dark, yet ethereal use of his keyboards. I personally would’ve thought that the album track of nearly the same name (the last track) would be extremely morose, but there is much more energy there than I would’ve expected. There are parts in the song where I notice some real drive and emotion, but not much of a great deal of sorrow; the track is much more bitter and grim. Many of the songs as well perform their share of emotion and drive, and yet, the emotion isn’t really what’s lacking. There are some improvements where I think marks have been missed, but I noticed a good deal of thought went into the structures of the song and a great deal of effort would make me say that it would be enough for this to be a successful album in this area.

Lyrical Content

As the album title suggests, most of this album is about just what it says, suicide. I find most of it to be something not to overlook, as I prefer to digest it, as I find it worthy of being noted, as well as it being thoughtful poetry. One person I know in particular on M-A might say that he hated the song titles, due to their verbose quality and extravagance. “Sardoniscorn” has a passage that recalls Wrest and his supposed encounters with otherworldly figures: “come with us, you belong to us, kill yourself, you deserve this.” Now whether he might believe in whatever he’s talking about, or whether it might be figurative is of no concern to me. “Mine Molten Armor” gives off the vibe of a zealot: “bitter taste of ash, your whimpers feed the flame, the scent of fear, and searing flesh, I will meet you with war.” Wrest even recalls an account of the sun going out in “The Idiot Sun,” in all of its exaggerated notions. I noted myself, that “Mine Molten Armor” and “Fucking Your Ghost in Chains of Ice” might very much be outside of anyone else’s comprehension, but I happen to like Wrest’s writing style.

Production

Production isn’t exactly the same for any Leviathan song, and on this album, it’s just the same. On one hand, you could have “Sardoniscorn,” having a much cleaner sound, with bass and treble levels fairly low, and vocals taking prominence in the foreground of the song. On the other hand, something like “He Whom Shadows Move Towards,” the bass is very audible, and the guitar is a bit scratchier, treble turned up. I suppose that this where Wrest gains and at the same time, loses some efficacy. Usually on the album, the guitars are fairly thin, but the bass can usually be heard, and the programmed drums (it’s not at all a negative in my book; Wrest uses them well with the analog drum kit) are sporadically fascinating, but for the most part, are exceptionally precise, both in sound, volume, and for their propelling force in most songs. The sound is a bit irregular, and I can’t explain it without bias as I’ve listened to Leviathan so many times. I can’t say at times that the production works for all songs, but at times it tends to fit here and there.


For all of the criticism I’ve created for this album, I didn’t think it would do any good if I didn’t point out what I thought what was wrong with it. But for it being Wrest’s first release, I must say that The Tenth Sub Level of Suicide has some real potential for growing on someone after a few listens, despite the ups and downs it may create at first. I also believe that this album does show that glimmer to some of the brilliance that Wrest does have, and I think it’s a stable groundwork for his next full-length.

Wrest + suicidal tendencies = great music - 95%

namelessheretic, January 18th, 2006

Production: While there is a distance created by a layer of black metal atmosphere now famous in the genre`, there is a clarity in each specific instruments's tracks creating a grim but smooth sound. The only exception to this is the vocals, which are ragged and harsh, sounding as if a hacksaw has been taken to the vocal chords.

As the title suggests, the focus of this album is, much like Wrest's other project, Lurker of Chalice, the journey through serious suicidal thought. Unlike Lurker of Chalice, Leviathan thrives off the hatred side of despair, showing the listener that not only can sadness cause suicidal contemplation, but pure rage towards human life can as well.

The mutilated vocals are a true manifestation of what one can expect to find coming from a soul as tortured as this. No whining. No pitiful self absorbed ego gratification. Just a writhing beast; don't get too close, you'll lose an arm(or more)!

At times there are similarities to Mutiilation, in that both dive freely into the deep current of black emotion; letting the depths suck them deeper until all that remains is the unlit abyss. One can find several influences as the album progresses though, and this is one of the charms that Leviathan possesses. Wrest never tries to take black metal out the boundaries of known workable theories, but takes the formulas that have been proven to deliver, and execute the best ideas to get the best results.

Wrest is a solid musician; familiar enough with guitars, bass, and drums to piece together songs so well that, without prior knowledge, one would think an entire band had recorded this album.

Drums are not easy to play if one cares to add any semblance of style, and Wrest proves that he has more skill than that of an average drummer. Sure, there is not a lot of flash presented here, but each part is played to perfection, guiding the melodies with rhythms that add exactly what the song needs to thrive. Plus, any non-drummer who's tried to stumble through a drum set will tell you the drum fills executed here are not for those who can barely keep 4/4 time.

That being said, drums are not the life's blood of this album. The melodies created by the inspiration of despondency is the priority of this musical experience. Vile chaotic phrases are taken out of the repressed depths of the human psyche and brought forth in angry, nihilistic guitar riffing.

The bass guitar can, in no way, be overlooked either. So often in metal recordings this amazing instrument gets neglected; buried somewhere in the final mix. Not so with this release. The final mastering not only made sure the bass was audible, but a major force in the mix. Wrest, again, shows his musical giftedness; one could easily through a bass track together without much thought, but here the bass in ever present with lively force; either supporting the musical theme of the moment or creating it's own(Scenic Solitude and Leprosy has a great example of this).

Leviathan is a well put-together project by one individual. It is impressive that one man has such an understanding of each instrument and how these instruments interact in the formation of well made song structures.

Diverse Depressiveness - 94%

crazpete, June 29th, 2004

USBM could currently be undergoing a significant rebirth. Bands like Weakling, Averse Sefria, Krieg, and Xasthur are all generating black metal with all the requisite elements in the right porortions: grim thick guitars, tortured semi-distorted screams and gurgles of hate, corpsepaint, obscurity, and the other aspects of a band one expects to find in an underground black metal outfit. However, there is also a flame of creativity, of musical depth, and even emotional power being lit. Leviathan is a part of this larger yet still not widely recognized movement.

The album is a singular tower built of the foundation of harmony. Thick chords move between varying degrees of tempo and phrasing, almost always spewing forth a dissonant and jumbled swath of intervals more organic than many other styles of black metal. Taking on the theoretical formula of Darkthrone’s perverted folk voicings of simple chords, augmented and diminished with dissonant 2nd and 7th intervals, Leviathan crafts haunting dilapidations of tone and mood. Guitars are surprisingly varied considering the harmonic brooding nature of the chords involved, as doom-based sections of droning repetition give way to immense spaces of complex melody only to later meet sections of speed and primal aggression as more classic ‘evil’ musical ideas move quickly only to fold upon themselves. Similar in voice and pacing to more mid-paced but twisted song aesthetics like Vlad Tepes or even Graveland, emotive refrains of droning strumming of dense diminished chords spread over two guitars give a vast and surprisingly stark and evocative mood. In the better traditions of black/doom bands such as Shining and Forgotten Tomb, the melodies and shifting harmonies take painfully long to develop but also wash satisfyingly over and through the listener as spirits in fog. Unlike the mentioned bands, Leviathan moves among quite a few styles of metal in the same song without sounding disjointed or overly ambitious; instead coming across well-rounded and articulate.

Bass has a distinct and important voice amid the harsh guitar tones, almost clean as it harmonizes intelligently with the vast chords being cast out among the stringed instruments like a net. Many times the bass moves hidden within larger guitar chords, only to peek out for a few riffs to prove it can add dimensions to a raw black metal recording, only to fade away for long sections or even whole songs. Given separate lines almost like minimalist but excellent keyboarding, the bass largely compliments the music instead of overpowering it.

Keyboards are barely present on the recording, and as such appear very infrequently but with potency. ‘Sardoniscorn’ features a slow piano melody over ambiance that’s not nearly as cheesy and predictable as its individual elements would seem, and amid the harsh complexity of the rest of the album, becomes an appropriate break that actually adds to the mood instead of killing it.

Vocals here are distorted screams and howls shrouded in dense curtains of reverb. There is so much echo and even distortion on the vocals as to render them more effect than performance, and this trick works with some degree of effectiveness in helping along the mood of distance and alienation the band emanates with. Yet the vocals seem to be pushed far forward in the mix when most other instruments drop out, giving a jarring aspect to the production it might otherwise not enjoy.

Drumming here is amazingly forgettable yet not bad at all. It fits the mood and color of each riff so well it is hard to separate it from the overall music to any significant degree, and as such, it is outstanding and praiseworthy despite its transparence.

Overall this album evokes a very specific emotion in the listener. The mood is complex and conflicting, almost visceral as waves of shuddering despair alternate with those of reverential awe. Despite all the talk of emotion and droning passages and thick majestic dissonant chords, there are many blocks of much older metal here, as minor and power chords and even melodic hooks give a primitive feel to the otherwise evolved sound Leviathan emits. A good example of this blend can be heard on the song ‘Submersed.’ That ‘new usbm’ chimeral sound that is at times distinctly Norwegian (think of the musical ideas that Taake, old Emperor, and even Ulver share) in its use of dissonant perverted folk chords, other times modern and ambient, and other times heavy metal; this combination of influences becomes a distinct sound Leviathan is not the only one to use, but they are certainly at or near the pinnacle of achievement in the field.