Ofermod - Tiamatu
October 15 2008 at 10:07:11 PM
Cito fit quod dii volunt.
Mystérion Tés Anomias, under construction for nearly eight years, was no craft of The Divine. Now from the fog of rumor and speculation comes
Tiamtü, which – faithful to its title – evokes the sort of “primordial chaos” it aspires and purports to usher. Those remaining taciturn, denying Ofermod’s inert roiling power and the hagiographic brilliance of its creator, Michayah, are simply not choosing to bear witness, drowning themselves in the cesspool of Metal’s most blatant commercial banalities. Yes, finally
Tiamtü. Finally Thalassa, finally Thalatte, finally Tiamat. When above, not as below: Tehom. A sea: Another. Two as Bahrain. The womb of the world. And the earth without form and void and darkness upon the face of the deep. And the Spirit of God moving upon the face of the waters. “Ve’erastich li l’eolahm Tehom. Ve’ erastich li be’emunah. Veyadaath et Ain [sic].” Not creation, but recreation of that which was destroyed. Replenished. Again filled. This.
In short order Michayah’s perplexing notions of “Orthodox Death Metal” and “Orthodox Black Metal” are wholly reconciled. Where
Mystérion Tés Anomias offers dueling demonstration,
Tiamtü performs able marriage. Transliteration of sonic form, transformation – fortification – of thematic: Michayah may as well nib and ink scholia re: mystery cult(s), Hebrew cosmology, the woefully underestimated power of Evil. There is power, power. Wondrous working power. In the blood of the lamb… Therein Michayah channeling Euronymous; not cut from same cloth, but imbued with an ability to render the lachrymose magisterial. “Pralayic Withdrawal” and “Freezing Moon.” They’re practically interchangeable. Thankfully that is where the Mayhem analogue ends.
Vocals are no more delivered than they are shouted from pulpit: “EHEYEH asher EHEYEH.” The word is higher in the mix, of course, because of its import: Et verbo caro factum est. Masocratic text, myriad religiosity, theurgical takes on occultism and esoterica backed with thudding, propulsive battery. Guitar work as densely elegiac as Berlioz’ requia. Hackneyed sound FX thankfully kept at a minimum; Michayah rarely indulges himself with the usual cartoonish tropes, sporting the Tom G. Warrior grunt only once, and degenerating into “scene setting” affectation on “Furnace of Moloch” and “Maasseh Nechustan,” which serve no better than a Nile record’s embarrassing outtakes. The supreme accomplishment here is the first five tracks, an extraordinarily muscular program far outranking anything hailing from Scandinavia in this nearly expired year. Michayah’s chronic incarceration and monkish selfishness a tired irony for the region and for the music, he automatically responded the only way he knew how. Exitus acta probat… Take heed.
[Stewart Voegtlin]
Ofermod
Tiamtü
2008
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"Death inebriation..."
Great review. When I first read that NOEVDIA was about to unleash this, I was giddy with excitement, and counted the days with anticipation. I really can't remember the last time I was as eager for an etreme metal band's release. Years? Perhaps it was the years of waiting for news from Micayah and camp, as "Pentagrammaton" was supposed to have been released two years ago? At first listen, I was a bit surprised at the Morbid Angel influence, but after repeated listens, it made sense.
I agree with the Mayhem comparisons, although IMO, it's 'Pralayic Withdrawal' and 'De Mysteriis....' Perhaps the chanting?
Also, when the TGW grunt comes in on "Eu Angelion," how can you not throw the horns?
"Where there is movement, there is life that must die."
Would love to see LHP score an interview...
Not to steal from Darkthrone, but this makes most BM sound plastic.
Essential.
"I crush this temple, and in three days it is raised again."
BTW, a kick-ass October = new Ofermod + Woven Hand live + Watain live.
Great call on the Morbid Angel. And, yeah, the Popeye grunt is fine, but it just seems outta place here. As do the last two tracks.
I listened to this well knowing it probably wasn't going to be for me. I found some of the sounds to be enjoyable but I feel this sort of music is essentially aesthetically childish which was fine when we were 14 and Mayhem were 17 putting out an album... But now we're grown and if this sort of music were to grow up with us (and I sincerely don't mean it in the "get a job and a nice house" way) it would have to do it in another way than this. Because this *is* an attempt at a more 'mature' type of black metal, similar to those by Deathspell Omega and whatnot, I feel.
I don't want to get into it since this is a comment space, but bands like this or Watain for me are even more embarrassing to listen to than the more lowbrow 'satan and guts' variations of black metal most of the time. It's not that they're doing something extremely wrong but the end result is unconvincing and ridden with cliche-rusted posturing. It's as if instead of cutting away the inessential bullshit around this sort of music, they take every aspect of what's expected and try to do it 'more seriously'. Well some things just cannot be done seriously.
Clearly (for me) black metal the playacting is getting in the way of black metal the disruptive and inherently uncomfortable left hand path movement and the solution is a radical departure from the legacy, the history, the 'norm'. Adventurousness, ambiguity, space for dialogue, please. I shouldn't know what the new Ofermod record is even before I spin it. Ofermod are not this departure, and they do not inspire in me to talk of Tiamat and Berlioz in any way.
I understand where you're coming from, and I certainly agree there are bands who offer nothing more than de facto "cliche-rusted posturing." And there are moments in this recording that come off no better than "cliche-rusted posturing."
BUT the differences, however, are myriad. Funeral Mist, Ofermod, Mortuus: Ensembles that disseminate "music" as quasi-religious statement. It's difficult for me to say the content isn't par with the form; I beleive in Orthodox Black Metal, and I beleive in it because it makes an attempt to become something much more than an artifact. This is not a CD, a record: It's an experience. I put this on, or Mortuus' De Contemplanda..., and it's not music; it's a method, a practice. It might not make "sense," but I'm enjoying being befuddled. It's a lovely state.
Micahaya's "system" isn't complete. It's as provocative as it is unintelligible. In time, things come together, however. I can see his connections. Maybe that's why I feel crazed most of the time. But I see these concepts shaping up, and I listen to the music and that's enough for me. Berlioz? More like Afrikakorps listening to Berlioz in the middle of the desert while dust deveil tear over the dunes.
I'm glad this excites you so and I think I can see why it would but I guess since I come from a much more 'right hand' path I am not as much - at least actively - trying to make this 'work' for me. Most of the black metal I enjoy is of the romantic variety, Burzum, early Fleurety and In The Woods... essentially life-giving music. Very, very far away from this thing that is called Orthodox Black Metal. I don't believe in Orthodox Black Metal, I think the people behind it are more confused than certain in their "system" as you say and that it is inherently disingenuous to attempt to evoke a persona of the "grand wizard" embarking that confused state, even if you can pull off the riffs and the literary references, even if practically the whole of black metal has done the same before you. This has to grow up eventually, and these people shouting all these certainties will have to allow for an "I am not sure" and an "I don't know" eventually in there, to engage in a meaningful dialogue. Or at least, if they think uncertainty wounds the metal (and it probably would) they should personalize their experience in a meaningful way, not bludgeon me over the head with absurd Crowley-lite incantations to their leftover teenage satan aspirations. I don't believe them, but I would be willing to try to understand them if they attempted this sort of communication.
Well, that's it really.
Ofermod is about these things: Tehom, Tiamat: Chaos as part and parcel to primordial conception of cosmology. It's inherently confused, and wholly uncertain IMO. Sure, the majority of the lyrical content sounds "certain." Implorations, credo... Dogma. Not some sort of abracadabra as performative statement. Micahaya isn't saying, "this is the case;" he's saying "we're trying to determine what the case is; it's a mystery - a holy mystery." I think the sort of dialogue - communication - you're looking for isn't there because this is so personalized, so selfish. You can only try to identify with it. There's no hope of "discussion." Shit's not discursive in the least. I suggest reading Bane's interview w/ Micahyah published by Oaken Throne... You might find something there of use.
I see. I would expect the contradiction between base uncertainty and its expression in dogmatic terms to be a charming one but it turns out it isn't, it's just obnoxious, for me. Religion was unappealing when it was conveyed by far greater minds than this Micahyah, so I can't really begin to see the purpose of black metal preaching. Aren't we supposed by this point in life to have our own personal concept of what life is anyway? Why would I need Micahyah's? As I said, I am interested in understanding him or anyone else, but I am not interested in believing in him.
Anyway, I will read the interview in Oaken Throne. Thank you for the dialogue.
Interesting discussion...
Even though I'm a nonreligious person, it was Watain and their "religious" brethren (Ofermod, Ondskapt, Funeral Mist) that rekindled my interest in BM. There was something mysterious about many of the early 90's BM bands; a combination of atmosphere, aesthetics, and lyrical content that was new to me at the time. By the time the mid 90s rolled around, the scene seemed stagnant, and I gradually lost interest in current BM happenings. Years later, shortly after it came out, a friend played me 'Casus.' I was hooked; the atmosphere, aesthetics, and lyrics were there (not to mention, glorious and filthy riffs). Whether or not the creators (Micayah, E, etc.) were/are in fact sincere in their spiritual beliefs, and regardless of whether their beliefs are sensible, there's still something appealing to me in the overall package. I've tried to pinpoint what it exactly it is that appeals to me, and the best I can do is reverence of the mystery. I get the same thing from listening to Woven Hand; a searching for something greater and divine.
Similar experience for me, jniff. I pretty much held fast with the first few Burzum records, Mayhem's DMDS and Mortuary Drape until NED and Ajna assembled their armies and began marching.
I try not to get bogged down in philosophically analyzing "belief systems." I doubt any "religious person" or their "credo" would benefit from outside logical/rational tinkering. That gray area, the unknown, the mystery is what makes it so attractive for me. Indeed, that's what religion - practice & object - mostly is: Noumena. Wholly unknowable. It's the striving to know that piques.
What the fukk is this, bible school?
Ah, Seb... I don't think they share your humor, sir.
This dialogue highlights everything I love about this site. The Left Hand Path consistently amazes me with insightful and thoughtful perspectives on this music that we all love. Best music journalism on the web, hands down. My highest regards go out to Stewart and the rest of the guys who keep this thing going, and to folks like helm and jniff who contribute the way they do. Keep it up!
music as ritual, transformative experience, I seriously agree.