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Negative Plane: Stained glass revelations
14/03/12 || SwornToTheBlack
Brooklyn-based Negative Plane are yet another black metal band that like to stay in the shadows. They shun social networking and, as they are not widely known, information about their personal identities is not easy to come by. Unlike the multitude of black metal pretenders that use obscurity to misdirect feelings of well-deserved shame, however, Negative Plane’s shrouded persona leaves us with music that actually warrants our attention.
Musically, the album presents a form of orthodox black metal in the vein of Bathory that has been enhanced with the extended use of guitar leads. These aren’t solos in the traditional sense, but rather a lead-based accompaniment to the rhythms accentuating a significant portion (if not most) of the composition. Additionally, the album contains several interludes — almost one between each song — that actually contribute to the mood as opposed to coming off as filler.
The songs on “Stained glass revelations” are direct but hardly simple. They are long and lavish, but they seldom climax. Almost perfunctorily, they instill an impression of unholy church music – exultant but not jubilant. This image is further reinforced lyrically and through the use of extremely dense atmosphere fitting of the most insidious cathedral ever constructed.
Speaking of the atmosphere: there is heavy, heavy reverb on every part of the album. It will be the single biggest dividing factor for most. One either hates or accepts it. Many fewer will actually love it. The resonant darkness serves primarily to echo the cathedral-like ambiance and ideology of the music and lyrics, but also to obscure and ward off those who have no patience for said content.
This obfuscation of the music by the production is effective but can be wearying. Delving deeply into this album is a rewarding experience, but it will be a lot of work. It is as though the album represents ‘music as an idea’ as opposed to ‘music as the performance’, opting for understanding over accessibility. This can be easily be too distracting for most as it stands for a different aesthetic approach than that to which most listeners are accustomed. This is music that can take on a more powerful character in the mind than in the actual recording.
On the other hand, the production is actually quite well-handled. Each instrument is discernible and occupies its own space, which more often than not is a sign of a good mix. The guitars are the most present instrument with bass and drums following. The bass only ever drops out when low-energy high notes are played. The low-end is always audible when it is provided musically. Likewise, the drums are all there. Every kick thuds, every snare pops and the cymbals are all shimmering. The vocals are perhaps the most stripped component, but the lyrics are still more intelligible than in most black metal. The massive reverb on this album was clearly intentional and should not be attributed in any way to poor production, but rather a demanding approach to the listening experience itself.
Conceptually, the album establishes itself according to the band’s stylistic directive, but once having done so, it does not settle. Instead, it puts the development to good use and builds on a thematic idea, slowly transitioning from the setup into a more consistent image of an apocalyptic black mass. I don’t know Negative Plane’s exact theological perspective, but the lyric-writing at times approaches Deathspell levels of Satanism, leaving kvlt Watain and their werewolf songs in the wake.
Obscuring one’s identity and music is done easily when you suck. Doing it well is an achievement. Though a modest challenge to take in, “Stained glass revelations” is one of the better black metal albums released in 2011 and offers a unique and well-executed approach to densely atmospheric black metal that will hopefully serve as a guiding light (in the thick, impenetrable darkness) for bands who wish to follow suit.
- Information
- Released: 2011
- Label: AJNA Offensive
- Website: N/A
- Band
- Nameless Void: guitars, vocals
- D.G.: bass
- Bestial Devotion: drums, vocals
- Tracklist
- 01. The fall
- 02. Lamentations & ashes
- 03. Angels of veiled bone
- 04. The third hour
- 05. The one and the many
- 06. Charnel spirit
- 07. All souls
- 08. The number of the word
- 09. Stained glass reflections
- 10. Stained glass revelations
