Written by Spike Sidor

ORIGIN OF THE ALIMONIES

Liturgy Origin of the Alimonies Review Album Cover

LITURGY

2020 EXPERIMENTAL OPERATIC BLACK METAL

Origin of the Alimonies is the fifth full-length project from the New York City based black metal band Liturgy, that is fronted by multi-instrumentalist, philosopher, theologian, jack of all things pretentious, Hunter Hunt-Hendrix. Over these five albums they have built on constant experimentation, adding new elements with each release with freakish and noisy lo-fi on Renihilation, bright and triumphant with math rock stylings on the difficult to pronounce Aesthethica, clean vocals and skipping glitched out production on Ark Work, and the aggressive and grandiose opera influence of HAQQ. They have put out incredible material over their roughly decade long existence with Aesthethica and HAQQ being works that ranked among my favorites of their respective year of release. As an advance, I will not be discussing anything to do with Hunt-Hendrix’s writings that no doubt accompany this record as they have previous ones, feel free to check them out but from my experience they are off-the-charts esoteric; out there philosophical musings that are as dense as Derrida or Zizek and are by no means necessary to enjoy the music, but if that sounds like your thing, check ‘em out.

Origin of the Alimonies continues to build off of their prior material with a thirty seven minute long black metal opera odyssey with plenty of twists thrown in. The opener begins with slow and somber horns and strings play long notes that stretch over the barren soundscape. If you’ve listened to a Liturgy project before you are already bracing yourself for the eventual explosion of guitars and percussion and sure enough the instrumentation builds, the strings turn anxious and drop out and some rising notes lead to our destination. The guitars combine with the prior orchestration and skittering glitchy noises hop on the short but glorious black metal trip. The end of the track transitions nicely into the organs on OIOION’s Birth which is a short interlude of ominous strings and horns with very light percussion once again building atmosphere. Lonely OIOION does not waste any time. After a few organ and harp notes the guitars, drums, and Hunt-Hendrix’s wretched vocals come flying in. This track is terrific, the more classic instrumentation mixes perfectly with the black metal. There is an amazing moment where the guitars cut out to paranoia inducing woodwinds before everything comes crashing down again and quickly builds to climax with twinkling harps that are oh so good.

The Fall of SIHEYNM is another track that starts quiet but adds frenetic screeching strings only to be followed by much more off kilter noise from drums, horns, and guitars upon guitars but not in the traditional black metal manner until it coalesces into a massive tidal wave of sound. SIHEYMN’s Lament is an absolutely insane song that begins with Hunt-Hendrix’s screamed delivery, with vocoder back vocals, nimble piano keys, and an honest-to-god trap beat. I am still in disbelief that this works so well. The moment doesn’t overstay its welcome and gorgeous woodwinds and strings take the song to more roiling black metal guitars and drums with swooping horns. On the later end of the track the guitars get low and doom-y, grinding to a halt in fantastic fashion. Apparition of the Eternal Church is the low-water mark of the record which is a big problem considering the fourteen minute runtime. Plodding keys with a driving electric guitar open things up and lead to a very long repetitious black metal sequence that has a few quiet to loud moments whose payoffs are plain weak. The song as a whole is okay, the progressions are boring and the added instrumentation to the black metal formula isn’t nearly as riveting as prior efforts on the album. The final and aptly named song, The Armistice, is opened with familiar weeping instruments with Hunt-Hendrix’s harsh vocals jumping on shortly. Deep quaking guitars create a base of noise and shots of percussion with heavenly strings build into a solemn exalted peak as the drums hasten. After the clamor dies off the record closes out with a few final beautiful notes  then silence.

While Origin of the Alimonies not as good as its predecessor it’s really only held back by the doldrums of the aforementioned Apparition of the Eternal Church. On the whole it is a unique and thrilling experience from sorrowful to electrifying to divine, confirming once again that Liturgy is one of the most inventive and compelling acts not only in black metal but in music today. 

8/10

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BORIS 2020 PUNK/DOOM-METAL/HARDCORE