Review Summary: Tome I: Book of Men (eight chapters)
Releasing two albums simultaneously is always a bold move for a band as it compels them to push their own creative boundaries. Theoretically, it can be a chance to make a big impact and leave a lasting impression on the music realm. American blackened death metallers Ulthar have decided to take on this challenge by unleashing siamese creatures,
Anthronomicon and
Helionomicon, that exhale eighty minutes of hybrid impetuosity. While the former has a more conventional eight-track structure, the latter features two twenty-minute sonic monoliths that allow for a different kind of journey. Nevertheless, as guitarist/vocalist Shelby Lermo mentioned recently - they both share the same cohesive vision - being aesthetically similar, musically but also visually, as their covers are equal halves of a single piece of art by Ian Miller, who also created the artwork for
Cosmovore and
Providence. It is therefore fair to say that although independent releases,
Anthronomicon and
Helionomicon share the same umbilical cord.
Anthronomicon
human, humanoid or human-like + suffix nomicon - knowledge on the topic (book of men)
Unlike
Providence, where I noticed a slight shift in tone from its predecessor due to its darker approach,
Anthronomicon feels like another piece of the puzzle. Ulthar's formula remains essentially unchanged as the band keeps flirting with black and death metal in their own peculiar way. The symbiosis between Steve Peacock's and Shelby Lermo's songwriting styles (with each contributing half of the songs to both albums), and the way they manage to put the riffing at center stage, remains the core through which everything gravitates. The intricate prog(ish) guitars on 'Saccades' and 'Larynx Plateau', or the tasty pinch harmonics at the end of 'Flesh Propulsion', are good examples of the band's inventive six-string department. Peacock's visceral vocals, which sound better than ever, are also an essential part of the trio's DNA and possibly its most distinctive gene, adding a unique personality to the songs while also providing a nice contrast to Shelby's deeper gutturals. This complementarity and the way it intimately connects with the rhythm section is Ulthar's greatest strength. Justin Ennis' drumming delivers much more than just solid foundations - it is an active part of the dynamics, seamlessly intertwining with the guitar frenzy in a synchronized dance. Mid and blast beat tempos roam freely down paths that rarely lead into doom territory. A lack of contrast offset by atmospheric synth outros in half the songs, which ensure some sort of pit stop despite their creative irrelevance. While I do understand their purpose, I sometimes feel these ambiances don't share a deep connection with the music, being merely contemplative appendages thrown into the end of the songs. A common practice within the genre, I'm afraid. Nevertheless, if we look at the basics,
Anthronomicon presents no relevant shortcomings, either musically or technically, which is sure to appeal to both the death and black metal side of the fence.
If we take
Anthronomicon as the gateway to Ulthar's double release, we couldn't hope for a better start. It’s an overwhelming display of the band's unique ability to master two styles under one coherent vision, and at the moment few do it as well as Ulthar. What remains to be seen now is whether its sibling,
Helionomicon, shares the same narrative or whether its twenty-minute chapters bring anything new to the table. But that's another story…
