Review by: Phil Differ
L’acephale’s album Malefeasance is the band’s second release to contain the Aurora Borealis seal of approval – a welcoming sign to those who are unfamiliar with the tormented yet clever mind of Set Sothis Nox La. The music is based upon the ideas and writings of Georges Bataille and the secret society of the same name. A lack of knowledge, in regards to the subject, doesn’t hinder the enjoyment of the journey that the music takes the listener on. Malefeasence is undoubtedly primarily a lesson in black metal, yet more on aesthetics and feeling, rather than song structure. The darkest elements of folk, noise and Slavic classical music are also revealed, adding depth to each individual track.
When trying to think of similar bands, Gnaw Their Tongues springs to mind, yet with this particular shade of black metal, it is harder to sound similar. The musicians involved strive on being as creative and unique as possible. The noise present on this album reminds me of the Birchville Cat Motel, squeaking and progressing only to collapse.
The opening track begins the bleakness, as a horrific ambient drone is joined by classical eastern European vocal chants. Eventually the layer of noise in the background fades away, leaving the eastern choirs to climax. As the journey transcends every song tell its own story. “A Burned Village” contains soaring guitar melodies, of the Drudkh ilk, yet the self described “militaristic drumming”, the wall of blackened noise and indecipherable shrieks give the track an unfamiliar edge. The standout “Nothing is True, Everything is Permitted” closes the album with the same eeriness that it began with, as the acoustic finale is welcomed.
Seldom do you hear anything as aurally terrifying as “Malefeasance”. Too many bands carelessly throw horror movie samples around, hoping it creates the type of forbidding dismal mood that L’acephale conjure throughout the entire album. The album’s packaging is also spectacular, providing haunted images for each song, within the CD’s booklet. I didn’t want my first review to sound like me just prattling on about how much I enjoyed the experience of listening to this album. It’s difficult though, when you hear something which sounds completely unconventional.