If our modern crop of metal bands do not slow down, I soon am going to have no more money left and will have to ignore all of my bills. Is that what everyone wants?
OK, so that’s a pretty ridiculous thing to say. First, I never could go broke buying all the new music I really want because I have some pretty stubborn tastes, and second, buying music isn’t all that expensive. But nonetheless, I have found myself investing my money in way more new bands lately, and that’s a sign that creativity is at an apex, and my attention span is at an all-time high. It’s a great problem to have. The fact I am paying this close of attention to anything is a miracle.
I now have another new band that’s gotten me excited, this time on the death metal side of things. U.K. trio Binah have a fairly unexciting name, but that doesn’t matter since their infernal, bizarre, and suffocating death metal is such a hellish blast to witness. From my first visit with their debut album “Hallucinating in Resurrecture,” I was captivated by their sound, as it’s uglier, meaner, and far more deadly that much of what other bands claiming to represent death metal pull off these days. With each subsequent listen, my excitement for this band bubbled to the surface, and they’re one of the freshest, more promising new groups I’ve heard this year.
Binah is comprised of Ilia R.G. (vocals, guitars, synth), Aort (guitar, bass, synth), and A. Carrier (drums), none of them newcomers to metal, and their music sounds more like the bands that helped birth this genre. You can hear some Entombed, Morbid Angel and Demigod, as well as hints of other bands such as Portal, Autopsy, and Hooded Menace, and yeah, while there are plenty of other bands going back in time to try to revive the genre’s roots, Binah don’t sound like they’re doing this as some sort of calculated cash-in. This shit is for real, and it’ll leave you in a pile of your own bones when it’s done picking away at your flesh. But on top of simply sounding legitimately influenced by the early days, they inject a sense of weirdness that’s fairly subtle but definitely is present.
The album has a really strange intro with “Into the Psychomanteum,” an instrumental that sounds like the lead-in to a magic show, but then things get ugly on “Morbid Obumbration,” a muddy, doomy, slowly delivered piece that lurches along. The growls are effective and vicious, and eventually the leads guitar work sets in with a fury, and pace kicks up a few notches. “A New Rotten Dawn” has some creepy synth work behind the chaos, and it folds in some excellent crunch and fiery growls, making it one of the most satisfying tracks on the album. “The Emissary” tears out of a doom-encrusted open, and its muddy make up eventually leads to some fast, aggressive playing that is just flooring. “Absorption Into the Unearthly” and “Dissolution” are pretty fast songs, with devastating drum work, and they’re more to the point than the other songs on here. The title track appears to pay some homage to Celtic Frost with its calculated and monstrous display of blackened death, and it maintains an utterly ominous feel through its 7:22 running time. “Crepuscular Transcendence” is the other epic cut at 7:16, and it’s heavy, sludgy, and crushing. It’s an example of how good these guys are at maintaining a sense of savagery and destruction over a longer piece and never running into monotony. They utterly kill the entire time.
I don’t know that Binah are going to become leaders of the underground death metal movement, but this debut album certainly seems to indicate they’re capable of serving in that role. “Hallucinating” is a rock-solid effort from a new band, and it deserves your attention if you’re into the wormiest, most gut-wrenching and uncompromising of death’s minions. Binah is off to a great start, and hopefully things just get deadlier from here on out.
For more on the band, go here: http://www.facebook.com/pages/Binah/304245586256643
For more on the label, go here: http://www.darkdescentrecords.com/
And here: http://www.mesacounojo.com/