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Madrid's AVERSIO HUMANITATIS follow-up 2020's white-hot "Behold the Silent Dwellers" with another stunning slice of unrelenting, modernist and oft-dissonant Black Metal.

Third full-length "To Become the Endless Static" finds the band teeth-clenched, razor-sharp, galvanised with self-belief and on devastatingly intense terrain. This time around the barrage of skewed melodies hit angrier and nastier in their anthemic abstraction, fuelling a set of weighty BM compositions with the crushing brutality of angular Death Metal.

Fortified by a characteristically immaculate production from the band's own Simón Da Silva (CANCER, MARTRÖÐ, SELBST) at The Empty Hall Studio, AVERSIO have crafted a hammer-blow of astounding riffing, warped leads, riotous drumming and ultra-committed vocals all wrapped in an oppressive atmosphere as serious as your life.

Thematically, the album explores the gradual deterioration of an individual's consciousness and physical integrity, as their mind slowly slips away. All pathways, dreams and connections to what once formed their identity spiral down, merging into the great nothing, the endless static.




"To Become the Endless Static", the third album by Spanish black metal experimentalists Aversio Humanitatis, sounds on first impression like a continuation of their previous work, "Behold the Silent Dwellers" (2020). There is nothing surprising about this, because the production on it was handled again at The Empty Hall Studio, guitarist Simón Da Silva's personal studio.

As the album progresses you realize that Aversio Humanitatis clearly aimed to bring their material to a common denominator. And they did so at the expense of melodiousness to a certain degree: "To Become the Endless Static" sounds more monolithic and coherent, but is clearly inferior to its predecessor in expression – "Behold the Silent Dwellers" was richer in entrancing passages, and even somehow more poetic. But the reduction in the level of melodism should not be misleading: "To Become the Endless Static" is marked by the same richness of the canvas of songs, even greater – why else would they have added a second guitarist? – it's just less obvious now, most often, Aversio Humanitatis, whether intentionally or subconsciously, blur their melodic passages.

Opener "Long Stretch the Shadows" presents the blast-beat pummel accompanied by a dissonant riff immediately. This solemn low-pitched attack sounds both aggressive and atmospheric, it lours with its thick sound over the listener like a toxic cloud, from which high-pitched tremolo-picked licks, sharp and short, erupt like lightning bolts. Essentially, this is Aversio Humanitatis in all their glory, while sometimes the rhythm is embellished with slightly dissonant guitar picking ("To Become the Endless Static", "Strange Angles"). In this sense, nothing has changed either.

A low-pitched dissonant attack bristling with piercing tremolos began to reign supreme in the Aversio Humanitatis music since their "Longing for the Untold" EP (2017). It was at this stage that they adopted modern black metal. This record was a natural progression from their debut album, "Abandonment Ritual" (2011), but it also marked a departure from some of their previously matured experience.

The debut was an amalgam of old-school and modern black metal. Roughly speaking, it was something in the vein of Darkthrone with a slight hint at dissonance. Well, it wasn't so much dissonance as an attempt to switch over to it. Or: we heard a kind of experimental Armagedda on "Abandonment Ritual". Even then, of course, you could detect the manner that would become dominant in the future: piercing tremolo picking drowned out by a tough rhythm guitar – the title track demonstrates this clearly. But the schtick of the album was different: some almost avant-garde riff with sorts of interesting side-tones was repeated tremendously, creating a unique aura.

On the watershed "Longing for the Untold" EP, Aversio Humanitatis abandoned these hypnotic repetitions, also began to frequently use blast-beat sections, and instead of cultivating weird riffs, they switched to influences from Blut aus Nord (riffing manner and melodism), Kriegsmaschine (structure and atmosphere), and Deathspell Omega (scattered passages). Actually, the influence of Kriegsmaschine's second album, "Enemy of Man" (2014), was clearly evident on this release, from low-pitched dissonant pressing with a superimposed embellishment to the vocal manner of Destroyer, for whom this album was the last work with Kriegsmaschine.

The "Longing for the Untold" EP still featured some experimental sounds from the previously compiled material, even ambient insertions were used a couple of times, but those elements were abandoned on "Behold the Silent Dwellers". In turn, on "To Become the Endless Static", Aversio Humanitatis finished off the remnants of old-school choices. You could still hear them on "Behold the Silent Dwellers" ("The Sculptor of Thoughts" and "The Scribe of Dust"), but here they're gone. It seems that Aversio Humanitatis are not very fond of looking back on the past, although their non-metal injections were quite successful.

As a result of these purges of the ranks, "To Become the Endless Static" is permeated with dissonances almost entirely. There would probably even be too much of them, if Aversio Humanitatis didn't occasionally make them piercing (though not as often as on "Behold the Silent Dwellers"). The most impressive song in this regard is "Blackened Mold Marrow". A piercing tremolo section enters here as an embellishment during the solemn low-pitched attack. It's very poignant and doomed, in the spirit of Blut aus Nord. Dissonance-wise, the difference from the previous material also lies in the fact that Aversio Humanitatis employ some Misþyrming's patterns on "To Become the Endless Static", the most obvious example being "Strange Angles", which begins with short high-pitched dissonant riffs, followed by guitar picking.

While tremolo licks don't serve as embellishments on the last two songs, but rather as a basis – they are really prolonged more than usual. This isn't very noticeable on "The White Noise is Calling", as this song sounds somewhat erratic compared to the rest, it even opens uncharacteristically for the album, with some post-black metal intonation, while all the songs begin in the blasting manner of the opening track, except for "Strange Angles", which starts at a medium tempo, although in keeping with the band's attitude. The final "Collapsing in the Resonance" is, to be honest, saved just by a piercing apogee in the vein of Deathspell Omega.

Too often, as on the previous album, the vocals tear the dark atmosphere to shreds. The rasping vocals are, of course, very much on topic, while the utterances, performed in the manner typical for modern black metal, are a different matter – they are more like declamations overflowing with theatrics à la Nergal, pay attention to "The White Noise is Calling" in this regard.

Summary. You have to be sensitive with "To Become the Endless Static", it's not just "another dissonant black metal album". However, this work can serve as a good example of how zealous adherence to modern tendencies dilutes the initial originality.

Colonel Para Bellum



..::TRACK-LIST::..

1. Long Stretch the Shadows 05:40
2. To Become the Endless Static 05:39
3. Blackened Mold Marrow 04:54
4. Strange Angles 07:08
5. The White Noise is Calling 04:50
6. Collapsing into the Resonance 06:16



..::OBSADA::..

S.D. - Guitars
J.H. - Drums
A.M. - Vocals, Bass
D.U. - Guitars



https://www.youtube.com/watch?v=cbrytgd12C8


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