Review by Felix on November 11, 2020.

This quartet called Ossuaire did not need much time after their debut, to say the least. Less than six months after Premiers Chants, the next half a dozen songs forms another typical output from Quebec. You know what you get when it comes to French singing bands from this region and therefore we can keep it short. If you like Forteresse or Délétère, you will also like Ossuaire. But this is not to say that the guys lack individuality. Of course, the stylistic frame is narrow and so I am listening to pretty opulent, constantly flowing tracks that avoid abrupt breaks or experimental follies. The album presents the typical dark, evocative contours of métal noir Québécois. Only short sequences interrupt the terrific maelstroms the band creates. The outro of the comparatively slowly advancing 'L’oiel-sang' aims for a pretty melancholic mood and renounces on guitars. Furthermore, the autumnal atmosphere of the beginning of the quasi-title track shows a calm facet of the band as well. Anyway, these intermezzos do not characterize the album.

Ossuaire are doubtlessly aware of the fact that their approach lies in close proximity to those of their neighbouring competitors and consequently they put all they have into the compositions in order to deliver the best songs of this style. Unfortunately, “Thèmes pour la rébellion” is hardly beatable and the same applies for “De Horae Leprae”. Nevertheless, right from the beginning, Ossuaire try to push back all enemy onslaughts. 'Pestilence Rampante' marks a defiant, fresh and belligerent opener that relies on nearly catchy lines and fast-paced rhythms. Its initial guitar tones ensnare the listener in a matter of seconds and due to the very good substance of the guitar work, there is no wish left unfulfilled. The unholy, commanding voice spreads demonic vibes and fits the musical content very well. The opener is simply fantastic and, even better, the same goes for the second and the third song. They also waste no time for useless pauses – their speedy rhythms and the carefully constructed guitar lines give the monolithic pieces a restless appearance.

The material on Derniers Chants scores with its constantly nightmarish visions which are emphasized by the adequate production. The guitars shape the sound, but the voice does not come off badly and the drums also have found an appropriate place. Even the bass guitar is laudable in this not overly clean mix. This is no production which is looking for a frontal collision with the audience, but it reveals a hinge (or even a proper portion) of fatalism under the surface. I admit that the first MNQ albums were an aha-experience for me and Derniers Chants does not cause a similar effect. However, it would not be fair to interpret this fact to the album’s disadvantage. The crucial factors are the high degree of vehemence, the remarkable quality of the guitar lines, the authentic and sinister spirituality and, finally, the coherent overall approach. And one thing is for sure, one will not find many albums with such a strong, multi-facetted and enthusiastic closer. Rest assured, the storms from Quebec have not yet subsided.

Rating: 8.2 out of 10

Review by Michael on February 24, 2021.

Sometimes it's the CD cover that speaks directly to you. This is what happened with the French duo Vipère, who released their debut EP Sombre Marche. But be careful! All those who like their black metal in the style of Dimmu Borgir or Cradle of Filth or are used to the usual smooth Nuclear Blast production should perhaps stop reading on here.

The music that Vipére offer us on this EP is raw, unpolished black metal. If the opening riff of 'Multiface' still lets some punky atmosphere arise but that soon ends with the introduction of the vocals followed by quite a chaotic intermezzo with thrashing drums and sawing guitars. The singer reminds me quite a bit of Gaahlskagg, the voice sounds distorted and hateful. By the way, this song is the only one written in English, the other two with vocals are written in French. In the second song 'Octobre Noir' the Frenchmen manage a skillful balancing act between raw black metal with raging drums, felicitous guitars, demonic vocals and slightly folkloristic acoustic passages. The third track 'Inégalités de Bell' starts with a rather DSBM guitar riff, which is however quickly decorated with some harmonic tones. Again, sawing guitar riffs are given space, especially when the vocals of singer Saros kick in. At times the whole thing reminds me of industrial black metal, like Aborym or Mysticum used to play (or still do in the case of Mysticum). The song is definitely the catchiest track of the EP and offers a nice acoustic part to the end. Sombre Marche surprises with melodies and instruments (acoustic guitar, keyboard and flute) that could have been found similarly on the first Ulver CD.

I find the EP quite successful. The guys from Vipère have created a quite varied and entertaining EP, which makes you want more. According to my information, an LP should follow soon, let's hope that will be so!

Rating: 8.3 out of 10