For those extreme metal lovers that tire of bands chewing over the actions of those in times gone by, yet shy away from the sound and aesthetic of futuristic, green dreadlock sporting harsh electro types, meet your perfect match – Welsh trio Nexus Inferis. For those who equate Welsh music with choirs, these good folk are more concerned with the rise of the machines than rising to sing hymn 430. After 2 years pacing below the radar, the band has erupted with their debut album “A Vision of the Final Earth”.
At first blush, these lads remind me of Aborym, but more stripped down, Anaal Nathrakh with more straight up black/death vocals and a less hissy, keyboard infatuated Psyclon Nine – a promising start indeed.
A common pitfall for those who dare to mix the electronic and organic is creating something so unbalanced it topples and falls. Often, I have been disappointed by bands who aim to capture the style yet only including a few out of kilter beeps and a copy pasted sampled by way of industrial, or conversely something so computer generated it contains as much guitar as a kids keyboard. All of these snares are ably leapt over and all qualms are blasted away in turn by unrelenting riffs and skin crawling soundscapes. Nexus Inferis walk the narrow tightrope over the fiery pits of disappointment and mediocrity.
Should the band photo be believed, these guys are fronted by some gas mask sporting lost soul from WW3. Let us pray the chaos that it was the fires of Armageddon that burned the sleeves off, what now looks suspiciously like a tank top. He is flanked by a duo of what appears to be Beelzebub’s own builders, replete with unusual headgear and black clothes with a suspicious sheen, who complete their outfits by wielding pneumatic power tools or in this state of economic downturn, more likely butchered Henry vacuum cleaners.
All tongue in cheek comments aside, this band should not be judged on the image they choose to accompany the music, as this is certainly the most promising Industrial/Black/Death creation to be belched from Britain since Anaal Nathrakh began bellowing in Birmingham.
The apocalyptic album opens with sinister, distorted vocals which echo in and out, buzzing like a horribly mutated hornet and are slowly joined by satanic chanting, mangled samples and sinister synthetic atmospherics which drip with foreboding.
Despite having been suitably primed for an uneasy listening session, the sudden brutal onslaught of album single ‘Tremor’ is a shock to the ear canals! Cthulhu himself must be presiding on drums, as such hell bent hammering should be out of a mere mortals leg reach. The album as a whole sees an accomplished mix of growls, echoing shrieks, thunderous guitars, well placed samples and moments of eerie electronic reflection before the crushing robotic foot of brutality stamps down again.
The album is impressive on every level, and even more so considering this a debut album. For those nervous about impending doom in 2012 this offering should provide the ideal soundtrack to the end of the world, and no doubt drown out the noise of the cosmos imploding.