Pentagrammaton

Equipped with two new band members, Enthroned started their eighth attack in 2007. Forget the useless introduction, "Pentagrammaton" begins to break out with the initial tones of the second number, the first regular track. Unlike Ancient Rites, their best known native competitors from the beginning of Belgian black metal, Enthroned have never added symphonic, bombastic and pompous elements to their music. Although line-up changes have always given the band a new face, the sinister horde never stopped to play, breathe and live pure black metal. "Pentagrammaton" is no exception. The 42 minutes of ferocious rumbling stand in the tradition of the formation's former material and do not expand the listener's musical horizon.

But don't get me wrong. This does not mean that Enthroned have served a stale cocktail. They are still able to manage eery sounds (the beginning of "Ornament of Grace") and it is a matter of course that they are nearly always highly interested in rapid rhythms. Consequently, high velocity is an important feature on this album. Sometimes this fact leads to a little loss of dynamic, but this is probably rather the guilt of the production. "Pentagrammaton" sounds rather pulpy than very differentiated. At the same time, the mix can be described as more or less dull and flat. These are definitely no good circumstances in order to convince with new music. Well, Enthroned are experienced enough to score with profound compositions, regardless of the deficiencies of the technical execution. Nevertheless, the flawed production is at the expense of the album's aura. It does not develop an own character.

Given this situation, it is a pity that the guitar work does not deliver oustanding details in abundance. It appears as a crusty layer of blackness, solidly performed, but not blessed with an overdose of individuality. The songs rather form a swarm of killer insects. They are all dangerous, but you do not know which one is the insect that is biting you. However, at the end of the album, Enthroned break out of their opaque scheme. "Unconscious Minds", a monster with a duration of almost nine minutes, is the highlight of the here reviewed work. Clearly defined riffing, mid-paced rhythms that create a triumphant feeling, a calm intermezzo, powerful drumming and screaming lead vocals shape a monumental, pretty majestic piece. The directly following closer delivers the antidote: two minutes of hatred, an outburst of velocity and stomping heaviness. Anyway, the album does not belong to the jewels of the combo's catalogue. It is too good to be ignored, but it cannot hold a candle to their debut or "Carnage in Worlds Beyond".

In light of the news of a new Enthroned album coming out in March, I decided to take a look at what praise was being given to their most recent effort “Pentagrammaton”. Me being quite a fan of the furious piece of work, I was actually quite surprised to read mediocre reviews about such a dark, intense but well written album. Either I’m missing the point, or others don’t see what I see in this release. It could also be a nostalgia thing. After all, it is the first full length I’ve heard from the Belgian demons, as I discovered the album and with it the band itself just a few weeks before I saw them with Deströyer 666 in Toronto towards the end of August 2010. This album and that show definitely worked to Enthroned’s advantage, as they had no trouble at all luring me into their fan base. No matter what a few people are saying, I like “Pentagrammaton” quite a bit, and I want to take some time to give praise to an album that really deserves more than what it’s getting.

The first thing that struck me about this album-before the guitars, the drums, the vocals, or the songs themselves-was the production of the album. The first thing I thought about “Pentagrammaton” was that this is a very good sounding album. Every aspect of the music is recorded clearly and overall sounds great! The guitars are a prominent feature of the album, and the fact that they are actually audible is a clear step up from most black metal (Nachtmystium’s “Demise” is great, but I can recreate that guitar tone with some sandpaper). They are also very well balanced in terms of treble and bass tones. I’ve heard guitar tones with such thick low tones that they vibrate in your headphones and I’ve had to turn down the bass on my computer so I could stop getting headaches from them (such as what happened when I first heard Blut Aus Nord’s “Ultima Thulée”), and that is despite the fact that the bass ends up being very high in the mixing as well to the point where it literally swallows the guitar. I’ve also heard guitar tones with such loud and high treble tones that they would pierce my eardrums and make my ears ring, no matter how good the song writing actually is (“Nattens Madrigal”, anyone?). Thankfully, there is none of that found on “Pentagrammaton”. The tone is very well balanced, having low tones heavy enough to give the album it’s dark and crushing feel, and high treble tones that cut through the mix just enough to be perfectly heard and prominent without overpowering any other instruments. The same goes for the drums on the album as well. The cymbals are heard well in the mix (although at times it would be an improvement if they were turned up just a tad more) and don’t sound too thin and “hissy” sounding, which ends up being a problem with quite a few albums I’ve heard. The snare has a very nice and deep crunch to it and it is always heard prominently even in blast beats, where at times it can easily be lost (listen to the beginning blast beat of Darkspace’s "Dark 3.12"). The kicks are also right where they need to be. You should never have to listen intently to find where the bass drum is, as it’s one of the most significant drums in the whole kit. The toms sound good as well, they cut through the rest of the mix very nicely although my only complaint is that at times it’s hard to hear the difference in tonality between them, and it more-or-less sounds like a big mash of toms. However this just could have been how they were recorded, or how they were tuned, or another problem that might not have been fixable. In any case, it’s such a small detail that to most listeners it may not even matter unless you’re a tough critic or a drummer. On a final note, the bass guitar is audible enough to provide the album with a clear, full sound and the vocals are heard very nicely throughout and without piercing through to the point of being too loud. In my opinion, this is as close to the ideal production sound that I have heard for any extreme metal album at all, as it possesses the perfect balance between clean & audible and raw, dark and gritty. It’s not “Heaven’s Venom” and it’s not “Transilvanian Hunger”. It’s “Pentagrammaton”: the perfect balance. The only album I can think of to compete with this is Nile’s “Annihilation Of The Wicked”.

Now that the production is out of the way, I’d like to talk about the song writing, and I’m going to start with the drums because the drumming is arguably the best thing about this album. This is the first album by Enthroned to feature Daniel “Garghuf” Robnik, who played in many bands like Nefarium but is most well known for being the former live drummer of Gorgoroth. Garghuf seems to have an old school way of playing extreme metal, as - just like many black metal albums - you get your share of lightning fast blast beats, scissor beats and fills, but he brings enough experimentation and diversity to the songs to make each part sound interesting. At first glance you may not notice every single thing that he’s doing, but if you were to listen to “Pentagrammaton” from start to finish and only pay attention to Garghuf, you would notice that there are many small but intricate subtleties that really make a beat more complicated than perceived. He likes to go all over the place with his drumming and at the right times, adding off-beats on the snare when necessary as well as double strokes on the toms or high-hats and usually in very abstract places. There is also creativity in the bass drums, as rather than hearing a constant flurry of double-bass it’s actually quite common to hear it in short bursts to accent specific beats in a phrase. While he plays great throughout the whole album, the most notable moments in my opinion where Garghuf truly shines are “Nehas’t”, “The Essential Chaos”, “Magnvs Princeps Leopardi” and of course the triumphant “Unconscious Minds” which is one of the best songs on the album (although it’s incredibly difficult to choose his best moments). His playing contains what all extreme metal drummers should have a little bit of at least, and that is diversity. He uses the whole kit when he plays (something that many metal drummers - including most black metal drummers - never do), and he is the key to bringing out the best in any movement of a song, whether it was originally written well or not. While his playing may not be generally as technical as guys like Danny Carey from Tool or Tomas Haake from Meshuggah, he adds finesse where it is needed and does more than just a good job at proving why he is an essential member of this band and one of the best drummers in black metal’s history (yes you read that right). Why Gorgoroth got rid of him I’ll never know, but hey I like Enthroned better anyways so it all works out in the end.

The overall composition of “Pentagrammaton” also caught my attention, as while you have your expected furious black metal, you also have experimentation in the melodies and guitar riffs. Black metal has always been known to have very bleak, semi-depressive harmonies in their riffs that were demonstrated by the early works of Mayhem, Burzum and Darkthrone and all the bands that try to copy them, but the difference between the riffs those bands write and the riffs heard on “Pentagrammaton” is that Enthroned’s eighth full length is filled more with riffs that give off quite the opposite perspective. Many riffs on the album are very comforting to listen to because they stay in the same keys and scales that they start from, and only jump to different octaves or keys when absolutely necessary. There are never any of those notes in the melodies that are disassociated with the key that many Darkthrone copies LOVE to incorporate (and in doing so making the riff sound “off”). Because of that the melodies are overall very pleasing for the ear to listen to, and as a result become much more memorable. The album doesn’t sound uplifting like Drudkh’s “Sunwheel” for example, but it doesn’t try to go for that grim and bleak feel that so many bands fail to achieve. It goes for something entirely different, and in doing so it stands out among the rest of the pack. Another great thing about the guitar work is that while it resembles a traditional second wave black metal output, there is enough expansion in the ideas to prove that Enthroned is thinking outside the box while staying true to their roots. You can hear it throughout the album, but there are obvious specific highlights. The quick descending riff in “Ornament of Grace” at 2:10 is always one I love to point out. It’s such a powerful and addictive sequence, and such a simple idea yet I’ve never heard anyone try something like that until Enthroned did, and they did it perfectly. The beginning of “The Vitalized Shell” is also one of the most perfect examples of a guitar movement that has a simple repeating lead line with a moving rhythm section that causes the riff to progress. These types of parts can be absolutely addicting when done right, and Enthroned pulled it off flawlessly. The beginning of “Magnvs Princeps Leopardi” showcases influence of technical death metal in the vein of bands like Blood Red Throne, Spawn Of Possession, Vile, Gorod and a few others while still retaining their unmistakable black metal sound. It caught my attention because let’s be honest, when was the last time a black metal band ever tried something like that? Never, that's when. The bottom line is that there is a lot more experimentation on the album than others are making it seem, and it makes “Pentagrammaton” all the more interesting. My only complaint is that the bass guitar doesn’t play a prominent role in the composition, it more-or-less follows the guitar which is okay but it would be cool to see the odd bass movement like in Marduk’s “On Darkened Wings”, because if it were done in the right spots it could really bring out a whole new side to a song. Speaking of bass, many fans of Enthroned would note that Lord Sabathan is no longer in the band, which would also mean a change in vocals. Nornagest decided to take control of vocal duties when Sabathan left, and I personally think the change had only a positive effect. As to who’s screaming I like more, I honestly love both of their sounds but I think I will go with Nornagest. His sound I find is generally a bit easier to digest and he has also displayed a noticeable range in his screams, from low roars like in the beginning of “Ornament of Grace” and his usual higher pitched howls that he’s known for. I think he makes an excellent front man.

Is this album perfect? No, it isn’t. There are still things I would change personally, but there are also things I would change about my favourite albums of all time. One of the things that holds it back slightly is the fact that there is indeed a slight blend factor between songs, and because of that some pieces may not shine as brightly as others. However, this isn’t a big enough characteristic to bring it down enough to call it a bad album, especially when the blend factor is rather minimal. As a whole, “Pentagrammaton” is an album that deserves a lot of praise. It has intriguing experimentation, diversity and still maintains it’s place as a phenomenal black metal album. Every aspect of the music is executed with precision, technicality, taste, and creativity, and because of that it stands out. Whether you’re a long time fan of black metal or not, or if you’re looking to find an album to introduce you to what black metal has to offer, I highly suggest this album. You will not be disappointed, on that you have my word.

My final score for this beast of an album is 90/100.

I'm on the fence about Enthroned. Being one of the most important bands from Belgium and a legend in spreading the gospel of black metal, you'd think Enthroned would be more interesting. Their first albums aren't bad and they've written the occasional glorified opus here and there, but "Pentagrammaton" is just stagnate. The band's eighth record continues the vanilla-flavored rampage that sanctifies the legacy of Enthroned and the faction’s nihilistic fable once more, its stomach loaded from the voracious ingesting of demonic wails and brutal tremolo riffs that often appear in harsh black metal. Sounds awesome, right? Well, you're in for a shock: it's not.

"Pentagrammaton" sounds like shredding black metal. You know, with grunts and shrieky vocals, burning tremolo riffs, blast beats, brisk production, cracking mid-paced sections, lots of evil...you get the picture. I think it's pretty unfair to group Enthroned in this category because a lot of the riffs and ideas they use actually shift appropriately and don't engage in the norm to take up time; in fact, a lot of their material is quite enjoyable. However, Enthroned couldn't keep this release noteworthy if they used saxophones and breakdowns. Every track runs through the same postulate, and I just feel like nothing happens every time I listen to "Pentagrammaton." As I said, not bad, just really forgettable stuff. A good chunk of the record is pretty nifty though; the album's best moments come from some of the shorter songs which never run over four minutes, along with the title track and the massive "Unconscious Minds," which are both pretty good too.

Unfortunately, the rest of "Pentagrammaton" is completely insignificant. Enthroned initiates the barrage with an anticipated punch of meaty riffs and slaughtering heaviness dubbed "A Vitalized Shell," which asphyxiates the listener in Enthroned's boiling stampede. The record rolls onward into the cool "Rion Riorrim," but the infatuation is beginning to look a bit questionable. "Ornament of Grace" and "Magnvs Princeps Leopardi" are unmemorable at best, and something like "The Essential Chaos" plods on aimlessly, leaving the listener a trifle flustered regarding its blazing music and hammering brutality, which, although destructive and violent, leaves no lasting impression. Enthroned is actually a lot smarter than what I'm giving them credit for; a sizeable portion of "Pentagrammaton" isn't forgettable, but that doesn't change the fact that most of it is.

I'm not sure if Enthroned was after brownie points or what, but the lyrics are incredibly well-written and thought-provoking for the black metal theologian within us all, which I've had a larger interest in exploiting than the music of "Pentagrammaton" itself. Not to imply the record is haphazard or deserves a beating, but Enthroned has toppled this identical sound before, so there really are no excuses. At some point the release becomes too seasoned for its own good, and likewise flirts with the band's weaknesses instead of resurrecting the faulting project with memorable material. "Pentagrammaton" works for a black metal fix with the riffs and ideals to briefly satisfy the average listener, but not much else.

This review was written for: www.Thrashpit.com

Enthroned have got to be one of the most and least interesting black metal bands in the universe, simultaneously, and this cannot be the simplest of tasks to accomplish. Their debut Prophecies of Pagan Fire was a strong if traditional effort, but since that point, the band seem to have developed on a split hair: on one hand, their lyrics, concepts, titles and artistic visions have all come along way, through would be efforts like Armoured Bestial Hell, XES Haereticum and Tetra Karcist. On the other hand, they're still playing rather run of the mill black metal fare, out of which nothing staggeringly important ever seems to manifest, despite an intense effort on the part of their limbs and vile spirits.

Pentagrammaton is their 8th full-length, and it is choked with so much of what it should take to succeed in this realm, and yet it flounders in its ability to deliver memorable content. The contributions here from the newer members are powerful, with storm-like, taut drumming skills and driving guitars, all complementing the centrifugal force of Nornagest, whose black howling is as voracious as ever since taking over this duty. The selection of tracks are dynamic and potent, but they almost unanimously fail to engage the memory beyond just blowing the listener's mind out the back of his/her head. They rarely outlast their welcome, as we can sense in the strange, thrash driven atmosphere of "Magnvs Princeps Leopardi" or the battering "Rion Riorrim", or the charging slaughter of "Nehas't", with only one bloated epic to be had in the nearly 9 minutes of "Unconscious Minds" which ironically supplies some of the strongest moments on the album.

Enthroned manage all the intensity of the top flight Norse and Swedish bands. They can run gun to gun against a 1349 or Marduk with ease, and there is no question Pentagrammaton presents some dire atmosphere ("I Missi Solemnibvs", "Ornament of Grace") and punishing exercise ("The Vitalized Shell"). But for all the ritual knives it runs across your throat, for all the artillery it launches at your weakened mortal shell, so few of the riffs deliver anything worth sticking to, any final nail in your coffin, and the result is another of those ceaseless efforts that you wish you could wrap yourself around. Certainly, Enthroned remain one of their country's chief exports in this field: their technical ability, thoughtful occult concepts and ghastly, dark production standards would be hard for anyone to match. If only their black breath of fire could do more than scorch my awareness, but reduce me to cinders.

-autothrall
http://www.fromthedustreturned.com

Generally, I really don’t know a band named Enthroned; until I reviewed “Cleansed by the Evil Hand” by Syrian black metal band Nokturnal Forest (the demo features “Evil Church”, originally by Enthroned). Since the cover convinced me, I finally decided to take a listen to this Belgian black metal band.

In this album, you’ll hear more than 40 minutes of black metal fury. Their style is raw and fast (and quite old-fashioned too), though the production is very clear and fine (though this kind of production reduces the atmosphere, especially for a black metal record). The drums pummel with inevitable fury and hate, and the album features minimalist riffs (though the riffs change in tempo from time to time, the songs still are black metal songs). Though not that raspy, I give praise to the vocals, whose sound is influenced by death grunts and screams (though some songs have death grunts or rasps too), since it greatly contributes to the album’s overall force and aggression. All songs have most of these elements together and some songs really are repetitive (but fortunately, the other songs aren’t).

“The Vitalized Shell” might have an old-fashioned intro, but it didn’t become a hindrance to the song. It indeed has a lot of presence and overall, the song is very energetic, with the pummeling drums and the intimidating vocals, and the way they ended the song feels evil. “Rion Riorrim” has a good build-up of atmosphere (even though it has a guitar solo, a usual no-no in black metal), which is both grim and eerie. The title track might start slow, but never underestimate those next 6 minutes because Enthroned really plays the song good, with hints of death grunts and chanting, combined with grim and eerie black metal, all of which turned out good. “Nehas't” is a very grim song, with a cold atmosphere enveloping all over it. And lastly, “Behemiron” is the best way to end this album: the aggressive, fun way. The last 2 minutes and 3 seconds of this album are harsh, raw, and filled with hatred, just like an awesome black metal song you know.

This album creates nothing new at all. Blast beats, harsh vocals, tremolo pickings, and sense of minimalism are all present here, though some songs have unpleasant moments or just plain rip-offs. Another thing is that the album slowly becomes bland, listen after listen. Though not a worthy purchase, its moments are good enough to keep you going.