Pharaoh of Gods

Death metal? Check. Egyptian themes? Check. Nile? Nope. That’s right, along with Apophis, there were a few other acts near the end of the millennium that were pumping out fantastic Egyptian lore mixed with death metal. That being said, this fascination with Egyptian mythology was not some sort of, wide based movement that was all the rage. It was rather, a niche within the niche of death metal, but those who entered that realm seemed to have success with the formula. One such act was the band, Necronomicon.

Now, although their album “Pharaoh of the Gods” would indeed fit the Egyptian death formula, the band itself was not permanently rooted with such theme. Their overall lyrical concept would consist of various mythological themes such as Native American, as well as occult and Lovecraft material. However, although this may be the only truly Egyptian immersed album the band has released, it easily ranks in one of my top picks for the themed content.

First, the music on “Pharaoh of the Gods” creates a very dark and “Egyptian” sound with pounding drums and crushing guitars as well as addition sound effects such as the rainstick. However, aside from a few traditional Middle-Eastern sounds, the band dose not solely rely on those effect to create their sound. Instead they focus on producing crushing death metal first and foremost with said effect added to the mix to help create layers to their overall atmosphere.

The Drums play at blazing speeds with a level of power that is present throughout the album, while the guitars match their ferocity every step of the way. The guitars are very thick and help create heavy rhythms and chugging riffs, but there is more to their sound than just power. As I said, the tone and tuning of the guitars, when harmonizing with the drums and Middle-Eastern effects, helps transport you to the base of the Pyramids as they do an excellent job inspiring the Egyptian imagery “Pharaoh of the Gods” is built upon. That, along with both very guttural vocals and the inclusion of clean, female vocals on a few songs, really bring the music together into a cohesive product.

“Initiation” is a perfect example of how the band pulls all these elements together. The song opens with some subtle effects, that lull you into a peaceful state and then suddenly, an explosion of drums and guitars rain upon you. Not long after, Catherine Leblanc’s hypnotic vocals enter the fray and add some nice contrast to the energetic environment. The, you get the first of many catchy riffs and then, Rob Tremblay’s vocal take command. It’s the combination of every instrument, effects and vocals that give this song and the album itself its identity as well as, breathe life into the Egyptian theme.

This is not a Nile clone and if I’m being honest, Nile plays the formula to a much better degree. What Necronomicon displays is an affinity for the Egyptian mythology that they decided to included their interests into their music. Overall, “Pharaoh of the Gods” may not appear on the top 100 lists of death albums of all time, but what they provided here is a quality release, both in songwriting and musicianship.

Highlights: “Initiation” “The Guardian” “Revelation”

Into the Abyss of Oblivion

It all started not so long ago, when browsing through cds and cds from stands to stands of all sorts of extreme metal labels or distributor, that I ended up having in my hands an album whose mystifying cover consisted of the big pyramids at night with some kind of strange light on top of the Giza pyramids, as well as what looks like an apparition of a pharaoh ('s face) with stars all around. As a guy who has always been interested in Egyptian related, mystic and by the - already heard somewhere - name of the band on top, Necronomicon, occult things, I was unconsciously drawn to take a better look at that strange artifact. I then did so, looked at the Egyptian themed inlays, the interesting and shorter song titles than Nile, and back to the name: Necronomicon; "of course, aren't they one of those death metal bands from Montréal?" I asked myself, "yes, and I saw some flyers for one of their shows one day too". "Only five bucks? You bet I'll buy it", and addressing myself to the guy behind the desk: "Hi, I'd take these...".

Forwarding to the moment I put that intriguing cd in my computer, I began my listen while reading the lyrics. "Not bad at all" I thought, "and sounds Egyptian in a way". But after losing a little my interest after the first tracks, I began my usual search for more info on the band at hand. I learned that it's actually their only Egyptian themed album, switching later for a more pagan or tribal theme. And I of course got to hear about the Nile comparisons. So after a couple of listens, I began to dig more and more the album, from the thought of it being good, to most excellent. "Hmm, sounds like a more typical death metal version of Nile, almost Morbid Angel-esque at times." Listens upon listens of Pharaoh of God made me discover new layers of sound I surprisingly ignored on this not so complex death metal album. All of this led me to the royal chamber, were the true treasure lies, and it is after uncovering this hidden gem, that I decided to share how to find it so it won't have the same fate it had for all those years.

First things first - as I can sense in your eyes the urge to be taught about that question first - the Nile thing comparison. Like I told earlier, it's an Egyptian themed album, at least for only three songs according to the Witch himself - but that's a matter for another question. "So it sounds like Nile?" you may ask. No, not at all, if only for some themes about Egyptian mythology the guitars and drums may be able to convey as well some - although rather different in nature - other effects added throughout the album. The shell of their efforts is what is most similar and again, different in approach as there are several different explored themes about Egyptian mythology. We'll go back to the shell, but as of now, let's take a look at the core of their sounds. Nile: technical death metal. Necronomicon's Pharaoh of God: death metal. So unlike Nile, they don't go into the guitar wankery direction, but more on the Morbid Angel side of death metal along the groovier side of the genre. The rhythm section is damn solid, the bass is clearly audible, fits with the guitar and may even do its own things and complement it well. And the drumming doesn't sound nearly as oriental as George Kollias', if it does, it's because of some well placed cymbal its, otherwise it's more typical. Though the drummer know how to use his kit, "Initiation" is a brilliant example. Bass drum is used, but as a beat itself, backing what he plays with his sticks, where he probably uses all of his kit. There's also some female vocals used throughout the album as ambient tracks between the songs, consisting of some mystical sounding keyboards, tribal percussion, oriental elements and whispers. As a whole it does sound rather Egyptian, well it's not that it sounds that way, almost, it's that all those elements are somewhat occult, mystical and oriental at times, thus reminiscent of the old kingdom's same elements among its mythology.

Some tracks are better than others, but Pharaoh of Gods is sure to provide you a fresh, moody and kickass death metal experience. If you thought Nile to be too inconsistent and/or trying too hard but like the idea of Egyptian themed death metal, you ought yourself to listen to Necronomicon's first album - which was released before all that Nile hype thing. You won't regret uncovering this hidden gem; chances are, you might catch the virus of love for Necronomicon on your way out.