Review by Benjamin on April 25, 2021.

In a short space of time, Akercocke had emerged from the London extreme metal underground to become one of the most heralded bands in metal, with an already formidable back catalogue to bear comparison with any of their peers. Over three fearsome, and virtually flawless albums, Akercocke had given an object study in how to successfully develop a core sound, their ever-growing tentacles reaching into increasingly more eldritch depths, while never completely severing the connection to the heart of the creature (or hearts, if we are going to stretch the cephalopod metaphor to its limit). Their fourth album, Words That Go Unspoken, Deeds That Go Undone was, on release, considered something of left turn, the band apparently jumping headfirst into the prog-rock ocean. On reflection, however, this reputation perhaps says more about the conservatism of the metal scene in 2005, than it does about Akercocke’s evolving sonic choices. While it is undoubtedly a courageous album for an ostensibly death metal act to release, it is at all times recognisably the same band that made Choronzon, and even the most progressive moments of this record sound like nothing less than a completely natural extension of everything Akercocke have done to this point. If the previous three records were the assembly of a spacecraft, Words That Go Unspoken… is that same vehicle leaving the Earth’s atmosphere, crewed by the engineers that built it.

The incendiary opening track ‘Verdelet’ initially offers few clues to the more expansive sound of the album, contrasting strongly with its immediate predecessor by eschewing a lengthy introduction, in favour of launching straight into coruscating death metal, which remains an integral part of the band’s armoury throughout. The familiar dissonant, ringing arpeggios, something of an Akercocke trademark, make an early appearance. More unfamiliar though, is the cleaner, crisper mix, and sense of spaciousness offered both by the stripped back instrumentation and more conventional riffing style. Prior to this point in their career, Akercocke have generally favoured a dense, suffocating production, which has resulted in their music seeming uniquely claustrophobic, every guitar figure building patterns on top of the previous one, gradually constricting the life from the trapped, but mesmerised listener. On Words That Go Unspoken… it is as if these walls have suddenly disintegrated, and in its place is a sense of the infinite. Where no life once dwelled, wide open space now appears, the terrain offering fertile soil for fecund growth and new life. The other key difference from what has come before is the move away from the black metal atmospherics that have characterised and distinguished the band’s sound since their debut. Although the album does not avoid the use of synths, their function is more often utilised as a lead instrument, rather than cloaking their intense tremolo blasts in the gothic grandiosity of old. Intriguingly, what we are left with is an Akercocke that are still recognisably Akercocke, but also much more direct in their metallic attack.

The brilliant ‘Verdelet’ is emblematic of these changes, featuring all of the hyperactive tempo-shifts that the band have become known for, forever twisting death metal into seductive new shapes, but also hosting one of the most straightforward and grooving thrash riffs that Akercocke have ever committed to tape – the mid-section of the track is as downright anthemic and accessible as the band have ever been, and as a result, ‘Verdelet’ is almost indecently infectious. The fun doesn’t end there, however, and it’s the second half of the track which really showcases the wide-ranging appeal of this iteration of Akercocke. Picking up the Eastern tones that were utilised more tentatively on the previous record, on Words That Go Unspoken…, the band fully commit to the rich and enveloping synth-based opulence that makes an appearance following the aforementioned thrashing grooves. For a band that have generally favoured multi-part songs playing host to numerous abrupt changes of mood and cadence, it is truly satisfying to hear the band exploring a more post-metal feel, in which small motifs and themes are gradually developed, and pulled and pushed into different directions. If Akercocke were once a highly adept Victor Frankenstein, bolting their monster together from disparate parts, here it feels that they are instead gestating a new being, nerves, arteries and limbs gradually extending outwards, marrying the triumphant metal classicism of the spiralling leads that lead the song into the more familiar wind-tunnel riffing of old, and then on into monochrome grimness, working through chromatic black metal patterns, before finally resting on a progressive death metal conclusion, which finds mid-period Deicide playing "Disintegration" era The Cure as if it were the most obvious thing in the world.

Leading off with a track that acknowledges no boundaries is a masterstroke of sequencing, as it allows Akercocke to roam into virtually any musical space for the remainder of the album’s duration without it appearing particularly outré, and it all serves to make Words That Go Unspoken… an utterly intoxicating album. This is not to say that Akercocke have abandoned their roots entirely, and ‘Eyes Of The Dawn’ even offers nostalgic fans something of a throwback to the ferocity of The Goat Of Mendes, but it is also undeniable that the most entrancing musical passages to be found on the record are more often than not those that bear the least resemblance to their previous work. Perhaps this is partially because although Akercocke have repeatedly demonstrated their ability to compose superior death metal, the quality of their first three albums perhaps dictates that continuing in this direction can only ever result in diminishing returns, as the startling nature of their take on the genre is lost amidst the now contempt-breeding familiarity of this sound. It is surely also a consequence of the fact that hearing a band as versatile as Akercocke providing their unique slant on a broader array of sounds is never likely to be less than intriguing, and when it is as resoundingly successful as it is here, the joy in the listener being jolted anew by a band that could easily be taken for granted provides the same kind of gratification obtained from their earlier records, but in a refreshingly different way.

The title track is most emblematic of the band’s new approach, containing only homeopathic traces of the band that made Rape Of The Bastard Nazarene. Tribal drums beat an opening tattoo, joined by meandering guitar figures, draped in roomy reverb, which gradually builds into classic metal guitar flourishes, not unlike the shades of 1980s metal that occasionally peak through the progressive metal of Ihsahn’s early solo albums. A little less like the Emperor mainman, this is the prelude to a thumping electro section verging on dubstep, which brings the digital side of the Akercocke sound to the fore with a greater degree of assurance than they have ever displayed, before a supremely arrogant Coroner-style tech-thrash riff obliterates any listener that remains unconvinced by Akercocke circa 2005. Sweeping clean guitars round out a majestic track, re-imagining the sound of Cynic’s "Focus", minus the distinctive vocals of that particular album, and once again it seems that the band have effortlessly achieved the ingestion and seamless assimilation of almost the entire history of rock and metal, re-configuring a bewildering arsenal of lethal weapons into something entirely of their own, and it’s difficult to avoid being swept up in the sheer audacity of it all.

One could easily pick out almost any track other than the customary atmospheric interludes, themselves an irresistible call to pray at the altar of this mighty band, as a highlight, each one containing some nugget of triumphant majesty, or yet another alchemical combination of seemingly incompatible musical ingredients. Although Words That Go Unspoken… could not be said to be front-loaded, the tracks that, together with ‘Verdelet’, complete a stunning opening triple-whammy are rather special. ‘Seduced’ is a never-ending stream of dismembered ideas that all land as intended, initially combining black metal note selection with precise death metal riffing, as if Satyricon were covering Carcass, before channelling the major key hippie death metal of Lykathea Aflame to bafflingly successful effect, and even finding the time to resurrect the guitar-synths of Pestilence’s unfairly maligned "Spheres" for some ingenious lead guitar runs. ‘Shelter From The Sand’ tops this, with arguably Akercocke’s most epic track yet. The opening sections are the kind of dissonant death metal that has long characterised their sound, but the final third is a blissful blend of shimmering prog guitars, stark piano lines, and deft vocal melodies. Each fragile note is a sliver of beauty, like lone trees on a barren mountainside, and the band appear at once nakedly vulnerable in a way that they have never allowed themselves to be seen before. Commonly Akercocke’s music has been an ego-filled display of elite supremacy; ‘Shelter From The Sand’ transcends ego in favour of something more cosmically infinite, and less earthbound – spacegaze in place of shoegaze. Once again, we find Akercocke sonically prefiguring some of the extreme metal trends that have seen increased popularity in the 2010s and beyond, bringing together the kind of dreamy post-black metal of Alcest and Deafheaven and the sci-fi death metal of Blood Incantation and Cryptic Shift into a singular sonic brew, some years before these distinct takes on extreme metal solidified into the more focussed sub-genres that we see today. Elsewhere, penultimate track ‘The Penance’ feels almost like the culmination of everything that Akercocke have achieved thus far, perfectly packaged into a seamless display of magnificence. Within the first minute of the track, stuttering, off-kilter death metal has birthed spidery prog, which in turn gives way to chromatic, Marduk-style relentless black metal blasting, spliced with the grandiloquent melodicism of Opeth at their best, the frostbitten North intruding from a parallel dimension into warmth of the near East evoked by the Arabic-sounding intervals utilised in the track’s main melody. Few metal bands display this level of ambition, and fewer still have the skill to pull it off in the way that Akercocke do with insouciant ease.

Somewhat frustratingly, as they did on Choronzon, Akercocke choose to close the album in perplexing fashion, with ‘Lex Talionis’. Although there is something amusingly contrarian about their tendency to opt for the atmospheric comedown as the final track over the mounting epic of metallic might that they could so easily choose, it also leaves the listener with a sense of loss and slight disappointment, when the knowledge that the perfectly sequenced and fulfilling alternative is so close at hand. ‘Lex Talionis’ itself is an interesting track, the heat of North Africa and the Middle East palpably permeating the band’s lift of Black Sabbath’s ‘Spiral Architect’, creating an enticing and enveloping atmosphere, but it’s ultimately a desultory journey, travelling, but never arriving. While it would have worked perfectly as an interlude, after the all-conquering fury of ‘The Penance’, it is unavoidably anti-climactic. This should not unduly affect our evaluation of Words That Go Unspoken… as a whole though. Although not the complete departure that some would have us believe – at its heart, this is an Akercocke record that exists in a clear relation to the discography that preceded it – it is an album on which the band utilise the total freedom that their mastery of the metal genre affords them to produce an extravagant and progressive triumph. It’s not quite their best; that honour remains bestowed upon The Goat Of Mendes, but it is a vital addition to their catalogue that bears virtually endless repeated plays, and conclusively proves that artistic evolution and the expansion of an extreme metal band’s sound need not come at the price of the band’s soul, which remains resolutely intact.

Rating: 9 out of 10

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Review by Adam M on February 2, 2016.

Akerocke brings a dark atmosphere to the table with Words That Go Unspoken, Deeds That Go Undone. There is a combination of progressive metal and death metal on this album that is one of a kind. There are grunts and blast beats, but then there are also long and drawn out sections as well.

The amount of variety is always appropriate and ensures that this is no one-dimensional death metal offering. The use of long drawn out passages is usually successful for this band, for example. It also leads to guitar usage that is skewered in directions that the band sounds appealing. A lot of different tones are utilized on this work. The dichotomy between louder and softer sections is effective, but so is the use of growled and clean vocals. All of these switches can be seen from the first track Verdelet, but there are strong dynamics in other songs as well. Regardless of what tone is chosen, the music is usually as intense as any death metal recording. It is simply the variety of different musical directions that the band takes that also makes them progressive in nature. When the band wants to be aggressive, they put the pedal on the metal, but what can be heard from these passages is more intelligent than your typical death metal fare. The key ingredient of darkness holds up no matter what speed the music is proceeding at, however. The fulfillment of the video for “Leviathan” can be seen with this album. This really is intelligent death metal that is worthy of people in suits being the ones performing it.

When all is taken as a whole, Words That Go Unspoken, Deeds That Go Undone is one of the most thoughtful albums of 2005. It is an album that is able to convey any mood with the proper tone.

Rating: 8.5 out of 10

Review by Jeger on August 19, 2024.

For Henri Sattler and God Dethroned, the creation of blackened metal is a matter of conviction: to stand vehemently against the cross and to envision a world free of religion but to also romanticize the unholy as has been the God Dethroned way since day one. Stories of great occult works and of The Fallen Ones as so masterfully told through monumental album releases like 2020’s Illuminati and their forthcoming opus, The Judas Paradox, set for a September 6, 2024 release via the formidable Reigning Phoenix. 

It’s been a long and arduous journey for Sattler. Early issues with collective vision and overall band concept forced Henri to dissolve the project early on, but perseverance is the Left-Hand way, so the show has - despite the adversity - gone on. To stand by conviction either means to stand alone or with a chosen few. And now, the chosen come in the form of said Henri (guitars/vox), Jeroen Pomper (bass), Dave Meester (lead guitar), and Frank Schilperoort (drums) - a classic four-piece lineup led by the sub-genre’s own Sage-like visionary. Nobody does blackened death metal with the same level of class as GD, so as the fiery church-torched horizons blaze the night and as Judas fans the flames with betrayal most unholy, it’s as a player in a new chapter of postdiluvian anti-Christendom. In this volume, Judas is used as the scapegoat to usher in a different, un-prophesied Kingdom and Jesus’ response to Judas’ entrapment is detailed. And the metal? Like white hot-forged Obsidian: blackened to the hilt, deadly and fucking brutal… 

As lyrical revelations pertaining to the poetic justice handed down to Judas are realized during the opening titular track, it’s to the sound of intrepid double-bass currents, melodic riffing patterns, and chant-like cleans. Groove and melody in danse with rhythm in a most epic catalyst to kingdoms forged. As usual, a no-bullshit record: ten tracks, one interlude, and packed with enough re-listenable parts to see your return for years to come, but the bread and butter? Product. Yet another pristinely-produced album by Henri whose knack for recording music with character as well as clarity is unmatched. A perfect mix here where all phases stand as pillars to the macrocosm and make up equal parts as opposed to lead guitar and percussion dominating everything. 

As it was with Illuminati, so shall it too be with this one; a melodic affair. Asmodeus - rapturous destroyer, King of all Daemons, and murderer plays a key role in the tale and an entire song is dedicated to his namesake who happens to also be of the heavily melodic consort. Each soul-stirring passage is like the precursor to some great epiphany and epic like a sacrificial ceremony. True DM-worshipping brutality coming in by way of 'Hailing Death': the grinds are Bolt Thrower heavy and the beats are like a fucking jackhammer in this the second-longest track on the record. Followed up by another bruiser it is as 'Broken Bloodlines' alternates between huge chopping riffs set to controlled-burst machine gunfire paradiddles and dreamlike clean guitar leads that emit their way mistily into an otherwise chasmic atmosphere. 

With The Judas Paradox, God Dethroned put on display their usual clinic of adept musicianship but also do they put together a record of intelligent design on both lyrical/musical fronts. Wisdom is only gained through time, but unfortunately is it also paramount for the realization of genuinely great music, and God Dethroned happen to exude this character trait in spades as per tradition. There are no “look mom, no hands” solos and rhythm guitarist-jerking-himself-off riffs, just evenly-keeled, tempered music to properly aestheticize the tale and to homage His Infernal Majesty. 

It just gets better every time, man, and to deny God Dethroned is to deny things like free weed and blowjobs. You just can’t deny it, because it’s that damned good, and always has been. From their war volumes to of course their diabolical stories, the cream of the blackened death circuit. Celebration is in order! Don the cloaks and torch the Bibles this eve in preparation for the dethroning of divinity once again. Lux Tenebris! Hails be unto Him and unto God Dethroned. 

Rating: 9.5 out of 10