K.F.R. – Pain​/​Ter

K.F.R. is back, the 12th, yes: twelfth album from this French Black Metal / Ambient / Soundscape project/band, led by composer/multi-talented artist Maxime André Taccardi of Griiim, Osculum Serpentis, De Vermiis Mysteriis, Lamentum and other mind shattering music returns to us with ‘Pain/Ter’, said to be his most personal album up to date. Even depicting a monstrous abominable devil representing the good man on the front cover of the album.

Maxime has always said that his impressive blood art paintings are displayed into music with K.F.R. The conventions of the black metal scene do not apply to him. Maxime Taccardi bleeds and carves his own path through the jungle of trends, bands and releases.

This album is a blend of Depressive Suicidal Black Metal (DSBM) and avant-garde black metal, with influences from bands like Mayhem, Bethlehem, Gnaw Their Tongues and even shards of eerie atmospheres, genre Striborg, Hypothermia and pain streaks not unlike the better Abruptum.

‘Pain/Ter’ displays an unsettling and discordant nature, with savage, inhuman shrieks, roars and screeches, as well as whispered serpentine hisses and pained animalistic wails. The instrumentaton creates this disorienting, thick suffocating and feverish atmosphere, making it challenging, yet captivating to listen to. Vocalwise, one could compare it with the vocal exploits of Mayhem’s Attila Csihar, yet being even more feral, versatile but also vicious slimey and brutal.

What is noticeable, is the mix: the instruments are more up front and prominent in the mix, the soundscapes, synthesizers and keyboards still weave a thick curtain of dread over the music, though. Everything sounds clear and distinguishable. I once stated that Maxime Taccardi doesn’t play or perform Black Metal music. No, Maxime becomes Black Metal. Whether it is his innovative dark disturbing art, his neolithic corpse paint or his bands, Maxime Taccardi transforms himself into what he wants to be.

‘Pain/Ter’ itself reflects all the struggles, the pain, fear and inner turmoil of becoming an artist. Heck, even I have seen the crack-pot messages he sometimes gets. Love it or hate it, the story of his life.

Conclusion: this 12th album stands head and shoulders above his previous efforts. It has way more depth, it’s more detailed, there’s even more variety in the songs themselves and the drumming from Déha as well as the vocals of a certain Niklas Kvarforth (Shining) on track 7, ‘The Serpent’s Kiss’ add to that.

My fave tracks are ‘All There Is Was Never Meant’, ‘Une dernière valse avant de crever’, ‘The Queen of Diseases’ and the pièce de résistance, the opus ‘Deliver Me Not’; a 41 minute moloch where Maxime sets new standards for the genre.

Needless to say – that this album gets a huge thumbs up from me and a big azz score for its richness and opulence in both music and performance. I dare say: this is the very essence of Black Metal.
How many artists you know who can blend Ambient, Black Metal, Cinematic music, Industrial and Doom into one solid and concrete chunk of dark art? Not many I think.

So all you Black Metal trendies: get off your ass and have a listen to his art.