Curiosity may entice us to descend into the abyss to uncover or rediscover an element that the soul yearns to reconnect with, rather than ascending, one may plunge into the unknown, freeing oneself from fickle morals that may imprison the consciousness. For it is through this journey into the depths that the spirit reconfigures itself, truly transforms as it merges with the hymns of that which is unseen.
Black Witchcraft’s ‘Ex Ossibus Templum Ei Erigemus’ recites the passages akin with the occult shade of Black Metal, summoning forth an album that communes with the senses,submerging and baptizing it within the stygian lake. Evoking a similar tenebrous nature as entities such as Theotoxin, Urgehal and Heathen Deity, Black Witchcraft speaks in tongues that lash in different shapes yet the spell unleashed draws from the same magick as those that come before.
A barrage of frenzied tones culminates and morphs into a being that feels ancient in its skin, for the convergence of strings coupled with the reverberation of the percussions entrances the mind to enter a domain that feels lived in yet strokes the curious membrane to want to explore its caverns. This becomes the jewel of the album , for whence dissected, tracks such as ‘Death, My Dear Companion’ and ‘Temple of Bones’ employ a metallic yet jagged dissonance to their expulsion, where the fervent motion of guitars utilizes the skeletal structure of occult Black Metal however, the skin which drapes these bones becomes unique in the manner it could itself. There exists a weight to the instrumental structure where the guitars feel dense yet expansive and the drums by extension carries a worship-like aura, where every beat feels as though it curls the smoke from the ceremonial flame.
Musically the albums offer unto the senses a cacophony of energy, incendiary in its motion, yet building to cathartic crescendo. The voice however becomes the gospel of these transmissions,where the tongue is unshackled, soaked in bile and tinged in ash. ‘Harbinger of Chaos’ is a track which unveils the vocal prowess, which aids the album on both giving it a sense of a physical anchor yet in an unorthodox way, transcending the atmosphere of the listening experience. A cyclic essence lends itself to the spirit of the album, for the arrangement of the musical constructs together with the voice which fills its bodies grants unto the consciousness a meditative state, in my opinion, the crux of the album.
‘Ex Ossibus Templum Ei Erigemus’ flays the soul, where each lash sinks deeper into the mind, filling the wound with the ichor of disgust and pleasure and from that which pulsates forth renders unto the core and dissolves that which binds and transfigures languor into the wine of ecstasy.
