Ashes

Recently in the metal world, there have been many discussions about musical atmosphere and its place in any given album. Although many see this as merely a matter of personal preference, there are some interesting talking points that could be derived from such conversations. Luckily, Necronoclast's latest album, Ashes, is a perfect way for me to jump into this debate and still remain as neutral as possible. Ashes is the fourth album by the UK's very own Greg Edwards (It's cool that he doesn't need a stupid mythological nickname to go along with his music, isn't it?), and it's pretty similar to his other three. Necronoclast is a one-man project in the true sense of the term, as there has never been even so much as a session musician on any of the four albums. Although there aren't a whole lot of songwriters who could pull off the instrumentaton of an entire album, there's not much positivity that can be expressed about Ashes as far as Edwards' actual songwriting goes. Truth is, the man's entire discography is neither disappointing nor exciting. It just kind of... exists.

Necronoclast definitely places more emphasis on the atmospheric side of things. Although many would argue that all black metal is fundamentally based upon certain atmospheres, the fact of of matter is that emotion, not atmosphere, is what has always taken the dominant role. Since the previous statement could easily turn into a dead-end argument of circular logic, let's try and focus on the big picture. Atmosphere in music has always been comparable to abstract art. Adding more structure (riffs, song pacing, etc.) to a specific atmosphere will gradually allow the songs to become more defined, much like adding actual shapes to a paint-splattered canvas. Ashes is abstract in that the songs all blend together and are not very distinguishable from one another. The guitars layering is clever, but not genius. The drums and pacing of each song both vary from time to time, but in the end they don't allow the album to develop into anything more than the black metal standard. At times, keyboards are brought in to help add density to whatever it is Necronoclast is trying to create. This instrumental combination helps make "Ghostways" one of the album's standout tracks. Aside from "Ghostways" and the album's concluding and possibly strongest track, "Kajicnicke Saty," which is actually a sign that Edwards can do a lot more than what he has shown thusfar, the songs are practically interchangeable.

It wouldn't matter if you listened to this album out of order, backwards, forwards, sideways, in Finland or in Africa, because it would have the exact same effect on you regardless. That's not a bad thing, as creating a consistent atmosphere isn't easy to accomplish, but the atmosphere lacks a strong and distinguishable method of instrumental delivery. "Kajicnicke Saty" is a perfect example and is the song upon which I base my entire argument. Adding things like solos, or even simplistic chugging would help the listener receive the rest of the music in a way that's easier to digest. Without any type of pattern whatsoever, an album wouldn't actually be music, would it? Patterns are the only thing differentiating music and noise, so it would make sense then, that an album's noisy atmosphere would have some sort of underlying pattern to help carry it along at least. As for Ashes, the times that this does occur still don't allow the album to really stand out the way that I believe Greg Edwards has the potential to stand out. If Edwards doesn't mind (the man is Scottish, after all), I'm going to raise a glass on this very St. Patrick's Day in hopes that Necronoclast's fifth studio album (if there ever is one) will finally be one that breaks through.

Originally written for MetalReview.com

Ever since bands like Deathspell Omega and Blut Aus Nord showed the way how to incorporate dead cold dissonant melodies to black metal, there’s been nothing but a flood of bands utilizing similar atonal melodies and chord progressions. And why not, after all it fits very well to the concept of malicious, twisted black metal. But how easy it is, then, to make a truly successful release by just plucking those sinister melodies with heavy distortion? The lately reviewed Evangelivm lacked the spark of originality, and when it comes to Necronoclast’s latest offering Ashes, I’m not entirely convinced either.

Because, ultimately, Ashes lacks that originality too. These 45 minutes wander nicely in middle or fast tempos, a mysterious atmosphere in presence throughout. The drums are very visibly programmed, creating a mechanized and industrial feel to the album, not unlike Blut Aus Nord, but also not unlike sounding a little cheap because I’m not sure if this industrial feeling is made consciously or couldn’t he just find a real drummer. However it is, the result sounds fairly bland. To mention one more negative side, the mid-range screams sound somewhat powerless and far from the cold atmosphere the instrumentation creates.

Now that the usual nagging is done, I can say that Ashes is still a decent piece that just could do a lot better. When playing this album, it doesn’t harass me at all but the same time it does very little to me - hence reminding me indeed of the recent encounter with Evangelivm’s debut. Naming standout moments is hard but I could mention ”Kajicnicke Saty” due to its guitar solo in the end which works rather nicely. All in all, Ashes is an okay album that I would keep in my shelves for an occasional listen, but remember not to expect anything truly innovative from this.

2.5 / 5
[ http://www.vehementconjuration.com/ ]

Ashes is the 4th full-length album from the one man Scottish black metal entity Necronoclast, and his 2nd through Moribund. It also happens to be the first I've heard, so my knowledge of his back efforts is lacking entirely, but the formula here is common enough that to identify. Greg Edwards performs all of the instruments and vocals, using programmed drums and incredibly raw, fuzzy tones to create an authentic return to the aesthetics of the early to mid 90s. You'll hear a clear influence from Burzum, Ulver and Darkthrone, at least in the fabric of the guitars, but Edwards uses a mix of death/growls for added, ballistic aggression. One band I am actually quite reminded of is Sweden's Niden Div. 187, who possessed a similar nihilistic breadth and comparably unflattering, caustic tones.

Certainly, Edwards sets up a steady atmosphere here, and to his credit he paces himself, with tracks like "Ghostways" and "Ashes" swerving into slower terrain to counterbalance the utter blasted chaos which can sadly grow repetitious. But the problem faced with Ashes is that most of the chords, while eerie, just don't manifest into interesting patterns that catch the ear with more than appreciable vitriol. Even the gleaming, dire melodies that propagate through the voluptuous bridge of "Veil of Flies" feel more predictable than uncanny, and this might be my single favorite moment on the album, though to be fair, the following "Kajicnicke Saty" is a more curious piece that flirts with a bobbing and weaving structure of hostility and obscured majesty.

You don't really hear much straight black metal out of Scotland, so there's a tiny spark of nuance at the fact that this is arriving from that corner of the world. Black metal purists who so admire honest excursions into the fundamentals of modern, necrotic primacy will probably appreciate Edwards' sincerity, because he does represent a legitimate manifestation of horror without all the trappings of excess studio polish or noodling wankery. There is no 'symphony' here aside from the backdrop he sets up with the chords and cold, machine drumming. The emotional edge of this album is nothing more than a razor sawing through the veins, and to that extent, Ashes is a fairly effective, if unmemorable experience. Not bad for one man, but I'd like to hear him reach further into his demons and disintegrate all opposition.

-autothrall
http://www.fromthedustreturned.com