Negativa does not seek to please anyone. It gives the impression that they did things in a way that they only understand, from the construction of the riffs to the names of the songs (which really are Roman numerals!). If you understand them, well, and if not, surely they will not care much. However, the product is so provocative that it is hardly indifferent to any lover of Black Metal, whether raw, melodic, folk, or depressive. Well, precisely the route that Negativa follows is very close to the DSBM, but with many features of more traditional Black Metal.
Yes, they sound like a procession, at will to suicide, to despair, but at times they enter a maelstrom full of chaos and hatred that leaves you thinking how they can move their emotions from one place to another without being so obvious. On the way they use distorted arpeggios, typical of Black Metal, with a praiseworthy criterion. There is another noteworthy point in this full length of Negativa. We are used to hearing the most heartrending shouts in Black Metal, to the point that it is hard for us to find something that really surprises us. In this case there is an exception. The voice is a total carnage, yes, but what makes it interesting is the placement it occupies in each song. It has no rest, because it covers a lot of space in the songs, but it does not saturate you. On the contrary, it gives an exquisite breath to permanent suffering, which is magnified with the reverb effect that is present at all times. XXII is the atypical song of this album, with a more noisy, experimental, decadent cut. A single beat is valid for the whole song, while indefinable clean voices are heard crossing the background and the guitars making enigmatic noises. It’s a good closing for an album of this kind.
A great favor to all the bands: emulate the example of Negativa when working the bass mix. It is a delight to be able to feel this instrument so present, with a heavy sound and that does not try to enter into competition with the other instruments. (MarioR)