Axamenta Codex Barathri
The L.S.P Company LSP007 March 25th 2002
By Russell Garwood
Axamenta have progressed from their death metal beginnings, through multiple line- up changes, to the symphonic black metal they play today. Codex Barathri, the bands fourth recording, was released through The L.S.P Company on March 25th 2002. Their heavily Dimmu Borgir/Cradle Of Filth-influenced black metal is reasonably commercialized and very accessible, but none the less well-written and competently executed.
The vocals, courtesy of Mordheim (Peter Meynckens), are primarily witch screams, but there are spoken, growled and sung passages in the multifaceted performance. The synths played by Yvel (Yves Huts) add a mediaeval feel, increase the musics diversity and emphasize the melodic guitars, while making for catchy songs. Yvel also contributes to Breks (Ian Van Gemeren) varied and competent guitars. There are sporadic acoustics, crunching bar chords, fast solos, sweeping, memorable melodies and occasional dual harmonies. Count Von Mieghem (Frederik Van Mieghem) provides generally more simplistic drums that never the less have the power needed to drive such music. The line-up is completed by Gnash (Kristof De Greef) whose low-profile bass work is good, negotiating the numerous dynamic changes with ease and confidence.
Codex Barathri opens to the violins and bells of Liber Angelis, which progresses into a catchy but not wholly original track. A compelling harpsichord and guitar final section leads into the distinctly medieval intro of Beyond The Haunting, another memorable effort with rich orchestration. Acoustics are used for the first time in Echoes which has numerous time changes and striking bar chords, making it one of the heavier tracks on the album. Godsman has an excellent Rakoth-esque spoken passage halfway through and finishes with some distinctly harsher growling. Deciphering Darkness is a short, heavily Cradle Of Filth-influenced song, but opening and closing acoustics mark them apart from the British band. Elemental Dance is one of the less memorable tracks on Codex Barathri, but Liber Daemonis which follows picks up the pace slightly. Through The Scarlet Forever is one of the longer songs, and contains a slower, sung passage between two more typical black metal sections. Standout track Submissive To The All closes the album well, with more original use of synths, and a truly catchy sung refrain two minutes in.
This nine track album is just under three quarters of an hour, a reasonable length for a full release, and while not groundbreaking, the music is well written and fun to listen to. It can begin to drag however, perhaps due to lack of variation in the structure and feel of the songs. Artwork courtesy of Kris Verwimp (Absi, Marduk, Old Mans Child) fits the album well. Axamentas music will appeal to all fans of symphonic metal and melodic metal alike, while for true black metal fans this is a release to avoid.
The L.S.P Company LSP007 March 25th 2002
By Russell Garwood
Axamenta have progressed from their death metal beginnings, through multiple line- up changes, to the symphonic black metal they play today. Codex Barathri, the bands fourth recording, was released through The L.S.P Company on March 25th 2002. Their heavily Dimmu Borgir/Cradle Of Filth-influenced black metal is reasonably commercialized and very accessible, but none the less well-written and competently executed.
The vocals, courtesy of Mordheim (Peter Meynckens), are primarily witch screams, but there are spoken, growled and sung passages in the multifaceted performance. The synths played by Yvel (Yves Huts) add a mediaeval feel, increase the musics diversity and emphasize the melodic guitars, while making for catchy songs. Yvel also contributes to Breks (Ian Van Gemeren) varied and competent guitars. There are sporadic acoustics, crunching bar chords, fast solos, sweeping, memorable melodies and occasional dual harmonies. Count Von Mieghem (Frederik Van Mieghem) provides generally more simplistic drums that never the less have the power needed to drive such music. The line-up is completed by Gnash (Kristof De Greef) whose low-profile bass work is good, negotiating the numerous dynamic changes with ease and confidence.
Codex Barathri opens to the violins and bells of Liber Angelis, which progresses into a catchy but not wholly original track. A compelling harpsichord and guitar final section leads into the distinctly medieval intro of Beyond The Haunting, another memorable effort with rich orchestration. Acoustics are used for the first time in Echoes which has numerous time changes and striking bar chords, making it one of the heavier tracks on the album. Godsman has an excellent Rakoth-esque spoken passage halfway through and finishes with some distinctly harsher growling. Deciphering Darkness is a short, heavily Cradle Of Filth-influenced song, but opening and closing acoustics mark them apart from the British band. Elemental Dance is one of the less memorable tracks on Codex Barathri, but Liber Daemonis which follows picks up the pace slightly. Through The Scarlet Forever is one of the longer songs, and contains a slower, sung passage between two more typical black metal sections. Standout track Submissive To The All closes the album well, with more original use of synths, and a truly catchy sung refrain two minutes in.
This nine track album is just under three quarters of an hour, a reasonable length for a full release, and while not groundbreaking, the music is well written and fun to listen to. It can begin to drag however, perhaps due to lack of variation in the structure and feel of the songs. Artwork courtesy of Kris Verwimp (Absi, Marduk, Old Mans Child) fits the album well. Axamentas music will appeal to all fans of symphonic metal and melodic metal alike, while for true black metal fans this is a release to avoid.
