Cendres Et Sang (2011)

Related to the emerging Aenaon (the Greek word means: eternally flowing existence) I have already penned a review, so I would rather leave out the detailed past of this modern black metal horde, sailing in avantgarde waters, again. Let’s concentrate on the present, since not even a month passed, since the notorious Code666 threw the band’s first debut on the market. For the sound Strype Audio, also known as Tom Kvallsvoll was responsible, naturally he’s professional and such cult formations bear the mark of his hand as 1349, Keep of Kalession or Code. The externalities are marvellous as well; Lukasz Wodynski painted the cover and made the illustrations up, put a great digital booklet together as well, let it be enough – this work is international and I was waiting for this release, for this reason and not for this reason at the same time. Weekly I changed mails with these Greek guys and as they promised they send me this disc which was their own copy from their label. I was waiting for it so much and I got a little disappointed – not that much, as the points show as well – there’s not much problem with the material. So only a little disappointment I sense, personally, since I see more in the band and I expected a more experimental vibe.

In my previous writings I often compared Aenaon to Emperor, as the latter one’s complex and well-structured alternativ scape, if you like, a smart photocopy, so I intentionally wanted to experience how much they gave the mocking of the great forefather up (even though they did it well) and it became clear to me, based on our correspondence that they tried to move towards a little different direction. Obviously, Emperor are present at many places, but other compounds and vials appear as well; also the genre of jazz appears next to the huge amount of demanding solos and pounds. This compound’s mixture is smooth at the maximum, it fits in and actually this is my problem, they could have gathered a little more courage. Anyway, often Ulver, early Fleurety and the latest Enslaved dropped to my mind.
Interesting enough, they have taken on a movie’s musical mimesis too, bringing Eraserhead‘s grasped motions up to the surface , from the aberrant artistic distances of David Lynch, related to the In Heaven (Lady in the Radiator Song). The piano and female vocals seem really weird and gigantically they sound. Ok, when it comes to this topic, it might have been more advantageous to try William S. Burroughs‘s Naked Lunch, an adaptation by David Cronenberg – many times it came to my mind because of its sick visual and musical world – , even music-wise if we take these jazz themes. Maybe next time. Every song is well-composed, twisted with serious skills and there are two more advantages I can mention; first is the practically evident heritage, since this is varied and colourful, as I have just coined it up – so it never turns to boredom. The other positive fact is something which I feel less and less these days: Cendres Et Sang doesn’t stream that certain smell of sweat, nothing was forced, neither a melodic nor a harsh part just to satisfy the expectations. Jazz parts mix so smoothly and soft and in a more recreational way, it sounds so natural, when saxophone helps us get ripped into the atmosphere. Long since I heard such a fine and smoothly deepening black metal material, which doesn’t cross the self-analysing borders of exaggerrated artistic integrity. Next to the progressive solos and easy strikes, their lyrical conception isn’t nominated for the award of usual clichés. Their lyrics elaborate over the existence of the spirit, the endless universe and many different and mysterious things which entwined life and death during the ages. Epic flights towards pathetic fall into nothingness, falls of deep essence and jazz motions turning to almost balanced jams, these are the characteristics of this long-awaited debut and two known guests also took part in two songs; Thomais from Dakrya and V’Gandr from Helheim. The only thing I regret that they haven’t been even braver, though the heart of past’s European culture is the place of rebellions and dissatisfied masses, striking in the streets, who are constantly getting milked by the government to fill in the holes which were pierced by the lack of the national budget in the past 15 years and these gaps get wider and wider with these restrictions. This hymen cannot be restored by fast bank packages, bond manipulations and structural transfers – and of course we are not too far from these things either, but let’s not care about the future, but let’s rejoice in present times, together with our Greek friends who – despite of their nation’s and government’s reefs – managed to put a professional material at the maximum level on that certain table, not just a little… but very much!

/English translation by Vorst/
Frog Leap
május 29.
Ritual Howls
május 29.