Akercocke - Official Website - Interview


United Kingdom Country of Origin: United Kingdom

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Type: Full-Length
Release Date: May 28th, 2007
Genre: Black, Death, Progressive
1. Black Messiah
2. Summon The Antichrist
3. Axiom
4. The Promise
5. My Apterous Angel
6. Distant Fires Reflect The Eyes Of Satan
7. Man Without Faith Or Trust
8. The Dark Inside
9. Footsteps Resound In An Empty Chapel
10. Epode

Review by Benjamin on May 9, 2021.

After four albums of increasingly progressive and free-wheeling death metal, Akercocke clearly felt that it was time to rein in the experimentation, and instead of continuing to expand their sound by incorporating additional outside influences into their increasingly diverse sound, the band apparently felt that the time was right to narrow the focus and deliver what is, at least by Akercocke’s standards, a fairly straightforward death metal album. Of course, straightforward death metal in the hands of Akercocke is still unfeasibly intricate and dynamic in comparison to the more atavistic elements of the genre, but it does mean, for the first time in their career, that the band take a step, if not exactly backwards, certainly sideways. In terms of the quality of the music itself, it is of course significantly better than functional – the band may be cruising in fourth gear, but they are running on an engine built by master craftsmen from the best available materials. For listeners such as myself, however, that had followed the band’s increasingly wild sound with enraptured interest, Antichrist cannot help but be tinged with a small amount of disappointment that Akercocke have not ventured further still into the unknown, instead preferring to revisit familiar vistas and well-trodden paths.

Setting aside the question of whether this is the Akercocke album I want it to be, and focussing instead on the Akercocke album it actually is reveals a core of molten death metal, contained within a succinct and streamlined package. The frivolities and fripperies of their third and fourth albums have been excised completely, and the psychedelic satanic warriors seem to have had the idealism and exoticism knocked out of them, responding with a taut set of muscular and largely memorable songs. The first track proper, following the de rigeur intro, is a perfect example of this. Exploding into life on the back of an extended tom fill that acts as a perfect tip of the hat to the master, Dave Lombardo, ‘Summon The Antichrist’ dissolves prime Floridian death metal into an already heady solvent of technical, but grooving Suffocation-style riffery, and the resulting compound is absolutely explosive. Vocalist Jason Mendonca pours his scornful vocals across the band’s hellish soundtrack, and once again Akercocke demonstrate their mastery of the form, successfully blending vicious aggression with unforgettable hooks, and viscous, chunky rhythmic motifs in a way that is simply beyond the reach of most bands. Where Choronzon or Words That Go Unspoken, Deeds That Go Undone might have used this foundation to build new worlds of progressive metal though, their tendrils reaching out to pull in sounds and tones from more esoteric sources, this track (and the majority of its counterparts across the rest of the album) is a fairly linear journey, the usual twists and turns confined to some fiddly Absu-inspired riffing working in contrast with an unusually rudimentary drum pattern, and a brief foray into the kind of haunting atmospherics that offer a slightly nostalgic throwback to the spectacular days that gave us their career-best The Goat Of Mendes. As undeniably exhilarating as this more sleek incarnation of Akercocke is, it is difficult to avoid posing the question of whether, in casting off the experimentation, something essential has been lost from the core of the band?

This is a question that I return to throughout Antichrist, a loose thread that I can’t help absentmindedly playing with, despite the attendant ever-present and irreversible risk that pulling it too hard could destroy the entire structure. The case for the defence rests on a clutch of tracks that, simply put, are unimpeachable Akercocke classics, and spectacular additions to a back catalogue that needs little burnishing. The first of these is the magnificent ‘Axiom’ which would be a fine candidate were one required to select a single track from the band’s discography which most effectively encompasses all dimensions of the band’s wide-ranging sound. Akercocke’s metallic credentials have never been in question, but were a particularly dim-witted listener to challenge them, the punchy, galloping thrash riff that surges into life in a flurry of legato runs and pinch harmonics part way through the track would be the perfect riposte. As ever though, part of the impact of such a thrilling riff is the contrast that it draws in comparison with that which precedes it. Rarely a band to simply put their pedal to the metal in a heads down race to the end, ‘Axiom’ pulls the listener in via the intriguingly incongruous combination of pretty, clean guitar arpeggios and constantly rumbling double-bass work, courtesy as ever of the extremely proficient David Gray. A soaring vocal melody continues this juxtaposition, working against a churning post-metal chord sequence in a way that is obviously Akercockian, but simultaneously somehow novel for the band, before the aforementioned grin-inducing thrash sees the band move from 0-60mph in a fashion marginally quicker, but significantly more satanic than a high performance sports car. If this were not enough, the latter part of the song sees the band giving free rein to their predilection for squelchy electro and dissonant guitars, and this is augmented by an elastic bassline from new member Peter Benjamin. ‘Axiom’ welds clever composition to immense groove and feel in a way that cannot but satisfy even the seasoned Akercocke obsessive. Moreover, the lyrics also stake out a clear philosophical position that compliments the musical vision of the band, elegantly quoting Bertrand Russell with the lines “I believe that when I die I shall rot / And nothing of my ego shall survive”. One might mistakenly read nihilism into a statement that in fact opens up endless possibilities and removes limitations, urging humanity to maximise the pursuit of pleasure during the only life that we have.

Similarly inspiring is ‘The Dark Inside’, which experiments with a much more rough and ready sound than the progressive precision that Akercocke have become known for. The heavily rhythmic, almost mechanised d-beat of the verse is redolent of classic Ministry, spliced with an aggressive punk-metal feel that approximates "Chaos A.D." era Sepultura, minus the tribal elements. The unstoppable forward momentum of the propulsive riffing suggests that the guitars are locked on to a track from which there is no escape; every note, every beat is as inexorable as it is powerful. As if to underscore this more animalistic approach, Mendonca’s vocals are some of the most feral that he has ever committed to tape, approaching the intensity of Blasphemy, or even Revenge, not bands that Akercocke typically belong in the same sentence as. Generally speaking, when Blasphemy are desecrating cemeteries in preparation for their nefarious rituals, Akercocke are more likely to be found reclining in the drawing room with a full-bodied Bordeaux, discussing Rimbaud and Flaubert, and it is gratifying here to observe Akercocke briefly allowing prominence to the beast that inhabits all of us, a beast that has perhaps been a little repressed of late. As they tend to at their best, Akercocke then move effortlessly from the bestial to the beautiful, as shimmering indie guitars and honeyed clean vocals transport us immediately into more tranquil climes, before the band return to their roots, unleashing a pulverising syncopated death metal riff of the kind that is positioned in the exact midpoint of the admittedly minimal distance between Morbid Angel and Slayer. The stampede becomes a lumbering lurch, the sound of an awoken giant learning to walk, before destroying everything in its path as the berserker metal of the earlier part of the track returns for a triumphant conclusion.

‘My Apterous Angel’ is further evidence of Akercocke’s mind-boggling versatility, and distinguishes itself with the most jaw-dropping segment of the entire record, a staggeringly clever instrumental section, as a brutal single note caveman riff is dramatically spun into a dissonant and considerably more complex version of the same progression, to ridiculously exciting effect. Were the entire album this dazzling in scope and execution, Antichrist would perhaps take The Goat Of Mendes‘s crown as the band’s greatest achievement. However, although the tracks which complete the album are well-performed death metal, they are not very much more than that, contenting themselves with replicating their influences, as opposed to transcending them. ‘Man Without Faith Or Trust’ demonstrates Akercocke’s enduring ability to compose memorably sinister death metal riffs, but offers little more than catchy brutality, and although ‘Footsteps Resound In An Empty Chapel’ improves on this in a dizzying technical blitzkrieg of prog-thrash, it’s difficult to avoid the nagging feeling that the band are breaking no new ground here. Where once every track promised to journey to unexplored realms, this time round they are returning to familiar destinations, albeit displaying the benefits of the intimate knowledge of the regular visitor, although the wide-eyed wonder of the first-time traveller is now lost. Even the atmospheric interludes feel like a somewhat lazy retread of the evocative sounds of Choronzon, and consequently cannot reach the heights that they ascend to on that album. Even the selection of the tracks covered on the special edition of Antichrist are somewhat obvious – Morbid Angel’s ‘Chapel Of Ghouls’ and the title-track from Death’s "Leprosy". There is of course nothing wrong with paying tribute to your forbears, and I suppose it’s possible that these covers introduced some fans to these untouchable giants of the genre, but apart from some spooky synths added to the former, Akercocke play it disappointingly straight, delivering admirable but uninspiring versions of unimprovable songs. How much more interesting it might have been to hear them cover something from outside the genre, identifying and honouring a kindred spirit in ideology, if not in sound.

It is important to clarify in conclusion, that Antichrist is not a poor album. It is in fact an excellent piece of work that even at its most generic conceives and executes extreme metal at a level well beyond the abilities of the majority of death metal acts. However, for the first time in their discography, the only real surprise to be found here is the fact that there is very little surprising about Antichrist, and for a band as ambitious as Akercocke, this feels like the first retrograde step in a career that has hitherto only moved in one direction. Perhaps they felt like they had taken the experimentation as far as they could under the Akercocke banner, and it’s easy to understand the attraction and challenge of creating such a tight and concise statement after several albums of increasingly intricate and progressive music. Seen in this light, Antichrist is indeed successful – an easily digestible blast of pure Akercocke, each track reduced only to its most integral parts. Were this the first of their albums that I heard, it is easy to envisage the delight with which this listener would have embraced such an overwhelming display of death metal dominance. However, in light of the greater triumphs that came before Antichrist, it cannot help but marginally pale in comparison, the band scaling Kilimanjaro, having summited Everest previously. A harsh judgement certainly, but then Akercocke have earned the dubious right to be judged to a higher standard than lesser bands. Expectations were met, but this time, they were not exceeded.

Rating: 8.2 out of 10

First published here: alifetimeofmusic.wordpress.com


Review by Mladen on March 5, 2021.

Who wouldn't want to be Akercocke, at least for a day? Just imagine it: dressing and behaving like an 18th century eccentric gentleman, driving a BMW (Beelzebub Minion Wheels, of course), living in a big scary house bequeathed to you by your uncle Algernon, the occultist, and surrounded by luscious women, pentagrams and fine liquor. And spending your free time blasting for Satan. Looks appealing, doesn't it?

The last time I checked, Akercocke still had their regular jobs, but the Hellfire Club aspect of their lives is as strong as ever. Admittedly, on Choronzon and Words That Go Unspoken, Deeds That Go Undone, they had done everything they could possibly do music-wise. In that light, Antichrist is not a big surprise, it's just Akercocke doing what they do — and no one else comes even close. The one thing that was left to improve was the sound — on Choronzon (or the albums before it) it was a compromise, while on Words... it was sharp, for the sake of finally being able to hear all that was going on. All the instruments on Antichrist sound warm, natural and almost intimate in comparison.

It's hard to connect intimacy with "blasting for Satan" on paper, but in reality it works amazingly. On one side you have monstrous, bestial riffs played with frightening precision and unbelievable speed. A combination of death, thrash and black played so fluently and incorporating so many different aspects of playing into long, mind-bending riffs so wild that they seem to want to jump right out of the speakers and knock you off your chair. Just jaw-dropping. But with just a pinch of imagination you're right there, observing Akercocke (named after doctor Faust's monkey if you didn't know by now) in a luxurious, antique environment playing in an almost meditative, stubborn, concentrated state of mind as a sign of total discipline in devotion to their Master.

On the other side, there are unexpected and completely mellow parts where Jason Mendonca abandons his undecipherable growls and maniacal screams in favor of a clean singing voice and the acoustic pickup of his Parker guitar with custom inverted crosses on the fretboard (the Devil is in the details, right?). It really doesn't matter if it is slow or brutal because it is all believable. Even if Mendonca's baritone might shake, when singing lines like "Reveal yourself, come to me..." you know he means it.

And then there is blasting. Of every possible kind, including some new ones. Oblivious to trends or rules, David Gray (drummer and also the exquisite lyricist) plays blastbeats during acoustic arpeggios, or two bass drums during brief jazz interludes. Yes, they fit in. And during faster parts... the man is simply possessed. There seems to be no triggering on the snare drum or the toms, but even if there was, the way he switches tempos and hits his kit hither and thither sounds like carpet bombing. No place to hide. Through all that, his style is still clear and present.

The "funny-haired new guitarist with a bad winter wardrobe," (as referred to by Mendonca) Matty Wilcock (well at least his last name fits in), was responsible for some blistering solos, culminating in the solo among the brutally thrashing, gloriously headbanging yet meditative ending of 'Distant Fires Reflect in the Eye of Satan', and the latest addition to the band back then, Pete Benjamin, affirmed himself by almost ripping the bowels out of his bass guitar on 'Axiom'.

So, was Antichrist a standard Akercocke album with just a different sound? Hardly. Although the songs seem to be more compact this time, it would take at least this much space or more to begin to describe everything that went into them. Anyone who has heard Akercocke before will know what to expect, and greedily add Antichrist to his or her collection. And the others... It's just a shame that all the Goths and similar creatures still think bands like Cradle of Filth or Dimmu Borgir have anything to do with the Devil or dark erotica. All you need is to take yourself a bit more seriously. You don't have to drive a BMW. The word "gentleman" signifies a state of mind above all else.

Rating: 8.5 out of 10