Blood Incantation – “Hidden History of The Human Race” – [Dark Descent Records]

atavist   12/30/2019   A Library, CD

Descriptions of death metal with ambitions to take on more, in terms of technical complexity, composition, nerdy science fiction novel themes, and face-melting riff architectures serve as a warning for some listeners. The genre simply isn’t for everyone, and can be polarizing amongst metal adherents. That being said, if you’re up for this kind of thing, Blood Incantation delivers. I’m freaking out over this recording (captured on 2″ magnetic tape, as it turns out).

Track 1 is death metal that bursts from the gates at full throttle, spliced with passages that flash some progressive leanings, as soaring riffs occasionally rise from the onslaught. This track, it seems, is intended to lay a solid foundation of razor-sharp brutality; the proggy quotient will gradually increase as the record progresses.

Track 2 continues where track 1 leaves off—for the most part, it starts out brutal and technical. Two minutes in, they break into a Middle Eastern-referencing, ancient Egypt spacecraft-invoking passage that reminded me of “In Their Darkened Shrines” by Nile—but only obliquely. Though resolutely technical, Blood Incantation never indulge a sometimes detrimental laser focus on technical prowess that made sections of “In Their Darkened Shrines” overstay their welcome. This slower-tempo passage continues up to minute 6, when the pace and intensity begins to rebuild.

Track 3 is an early favorite of mine, as it’s so easily distinguished from the other tracks. Almost (but not quite) exclusively instrumental, a quiet, fever dream introduction leads to beautiful, hypnotically interwoven guitar parts that build like a storm. Such beauty is then released and a satisfyingly odd time-signatured pummeling takes over, only to close with a return of the hypnotic riff.

Track 4 is an eighteen-minute, three-part sprawling opus (with a sprawling track title to match) that exhibits the full range of textures, time signatures, riffs, and mayhem the band is capable of producing. An ambient breakdown at minute six provides a mind-altering rest complete with a Pink Floyd “On the Run”-style synthesizer part. Just before they go too far into Floydish diversions, they return with headbang-inducing fury. There’s a lot here to unpack, many interwoven themes that I can’t always trace together. By the 14th minute, I don’t remember how the thing started, but it doesn’t really matter, because this particular part of the track is so beautiful. It’s a long journey but every passage has its own rewards. I’m looking forward to playing the track in its entirety where the break clock can accommodate it.