Hallucinating in Resurrecture
Dark Descent Records
Despite being formed a mere year ago, UK death metal trio Binah has found themselves home in famed underground metal label Dark Descent Records, and the release of their debut full length album, Hallucinating in Resurrecture. Boasting influences from death metal from various different regions, Hallucinating in Resurrecture promises to be an exciting and interesting journey ahead.
Hallucinating in Resurrecture starts off with the haunting, keyboard-driven Into the Psychomanteum, setting the atmosphere and the mood for the rest of the album. The female vocals that are present on the track helps to reinforce that chilling mood, and presents a stark contrast to the musical style of Binah as the band goes into overdrive as the next track, Morbid Obumbration begins. The gnarly guitar tone immediately brings about comparisons to Dutch death metal legends Asphyx, especially with the slow buildup being similar to the trademark doom-laden sound that the aforementioned has crafted. The slow buildup of the track towards a face-shredding climax, the heavy-hitting drums of A. Carrier and the abrasive guitar tone of guitarists Aort and Ilia all fuse together, along with the throaty growls of Ilia result in a crushing sound, and just on Morbid Obumbration one almost finds it hard to breathe with the heavy atmosphere that surrounds the listener. There are even rather subtle synths that are utilised in the album to reinforce the dark mood on the album, and can be heard on moments such as the intro to A New Rotten Dawn.
However, not the entire album is a slow, doom-paced experience though, as tracks like A New Rotten Dawn sees the band starting to quicken their pace, yet retain the intensity that the band has gained thus far in the album, and this helps to make the album a more enjoyable listen, presenting some of the heaviest and most intense death metal. Fitting to the band’s philosophy, the music on Hallucinating In Resurrecture are rarely technical wankery, and the focus of album seems to be on the crushing rhythmic section, with rather few lead spots. However, when these are present such as on Eminence of the Sombre, axe-wielders Aort and Ilia often display their melodic side, trading guitar solos with each other, providing a dynamic feel, but even then, the lead guitars are often mixed rather low in comparison to the loud and bombastic rhythm guitars, though this is of little cause for concern considering the intentions of the band.
It is indeed surprising when realising that Hallucinating in Resurrecture is Binah‘s debut full length album as one soaks in the material that is present. The aural onslaught that the band has presented here could easily surpass bands boasting more experience, and achieves what many bands have attempted but failed on numerous occasions.