Originally written by Ian Chainey
In the top ten list of lame standbys that you’ll inevitably fall back on to let a band down easy, “I REALLY wanted to like this” ranks somewhere below I’m sure they’re great guys!” and right above “Maybe if the production was better…”. Usually, when someone drops the “wanted to like this” line, they’re absolutely and one-hundred percent full of shit…and we’re talking, like, filled to the brim, dingle-berries attached to nose hairs full of shit. But, at this late hour, I can’t find a better way to describe how I feel about Spektr, another French entry into the bourgeoning world of scary, messed up, and bizarre industrial-tinged black metal. Everything I want out of one of these records is here–the creepy atmosphere, the suitable ambient segues, the strange songwriting choices–but nothing is hitting me right. I really want to like this. Really. Caps Lock engaged, REALLY wanted to, even. But, at least I think I know why I don’t.
Okay, brace yourself for narcissistic self-evaluation: Ever since I heard The Work Which Transforms God and, to an extent, Aborym, this subgenre of metal has been one of my faves and has hardly ever failed me. Of course, it helped that one of my shopping centers of choice, Aquarius Records (leave the money in the third trashcan on the second platform at the train station, thanks), specialized in this stuff, so, through my savvy purchases, I grew more than accustomed to off-kilter drumming, atypical riff choices, and varied vocal attacks that make these groups their cash (How savvy you ask? “Oooh, neat cover art!” That savvy. I’m an idiot, never forget that). Over time, I started to understand the language of the genre and learned to appreciate and flat out love each weird moment; just like I learned to love each weird moment that made up an Obscura, a Trout Mask Replica, a Science Fiction. And that was the problem: I got used to the weirdness. One of the basic reasons why this type of black metal is appealing is because of its horror movie-esque boo scare unexpectedness. When one can ably predict the next section, the music loses a lot of its shock factor, loses most of its reason for being. The great bands survive because of their songwriting skill, proving over and over that their songs have substance, that they’re more than cheap chills and quirky snare roll spills. Mescalyne, unfortunately, is the direct opposite. It fails to capture my attention because not only am I just not surprised enough, but there’s not enough content brewing below the predictable exterior to keep a listener’s head above the waters of boredom.
So, basically what I’m saying is that I’ve listened to far too much of this stuff to wring enjoyment from lesser entries like this one. Will that hold true for you? Maybe. But, even if you’ve never checked out the scene, this isn’t the best place to start. Even the album’s best moments fail to inspire, like the sorta mathy groove on “Mescalyne” or the spooky dark ambient workout on “Maze Of Torment,” the album’s best track and most fully formed work. Add in that the drumming is a bit too sloppy to achieve the effect that they’re looking for and is far and away not nearly as wonderfully weird as, say, the drumming on MoRT; or that the guitars are hidden under a super annoying, overly-processed tone that grates more than is great (The “Hey, it represents the mechanical nature of current society, man,” or some other such nonsence is bull. I’d rather listen to the bro-dudes at my pool hall argue over which Dane Cook bit is their favorite. Ugh); or that even the ambient segues aren’t exceptional, although they fare better than the actual music. All in all, it’s kind of like the worst bits of Blut Aus Nord and The Axis of Perdition taking on Lovecraft’s trashcan fodder. But, realize this: I REALLY wanted to like Mescalyne, but I fully understand why I don’t and I realize that’s solely a personal reason. As always, give it a shot and see where it falls for you, just don’t be surprised if you find yourself checking the lame standby list to give yourself a reason why you can never make it past the third track.
