Averse Sefira is a relatively young black metal band from Texas whose first CD, 1999's 'Homecoming's March', was quite a pleasant surprise in a U.S. black metal "scene" which, patriotism notwithstanding, has produced few bands that I feel distinguish themselves (Sarcophagus, Forest of Impaled, Krieg, and the mighty Profanatica/Havohej being exceptions who have carved out respectable niches in the field of violent black/death metal crossover). 'HM' found the band having already forged a powerful sound based on modern (Norwegian) black metal influences such as Immortal, Enslaved and the always-looming Darkthrone, with the perplexingly impish, mischievous emotional undercurrent of those bands tempered with a proud, steadfast, cerebral approach which honors Averse's heroes Immolation. Huge, crashing epics of violent riffing and dark (keyboard free!) atmosphere joined meticulously considered lyrics and images, proving this was a band that had something to say as opposed to the countless USBM bands merely projecting image and social influence.

The second album is out and it kills. The first changes one notices:

- The playing time is little more than half of the first album. I welcome this. The album is more concise and replayable. After only a week, I'd already played it as many times as I'd played the first one.

- The presence of a human drummer, Marcus "The Carcass" (heh, AS are not without their own mischievous streak - HAIL to that). I'm not too hip to the scene down there in Texas, but I'm guessing they found him in an area death metal band. He blasts at insane speeds, and is quite skilled otherwise as well. However, without being sloppy, the drumming has a frantic, organic quality instead of the bionic precision sought by many leading bands. This fits the music perfectly.

Now, diving in... It's apparent that a serious effort has been made to refine and sharpen the compositional style. The sharp, semimelodic, driving Averse Sefira riffs again form the backbone of the album, and are again contrasted by occasional darkly dissonant chord patches. There are more oddly timed riffs (I hesitate to call them "technical" as their function in the songs is more intuitive than that can imply), and at least one spacey drone riff that reminds me of Enslaved's 'Mardraum'. In addition, the way some of these chords churn and grind against each other in miniature symphonies reminds me of Immolation's incredible third and fourth albums.

'Homecoming's March' was impressive because it held forward momentum with an economy of riffs per song. This was achieved with incredibly fluent songwriting for a young band, as well as a sense that the songs were building and going somewhere instead of coddling the listener with recurrence of verse/chorus patterns and artificial "variety" in instrumentation. With the wider array of riff styles at their disposal, and songs 1/3 to 1/2 as long as those on the first album, plus more tasteful use of the Lady of the Evening Faces' excellent ritual interludes, 'Battle's Clarion' is a riveting, cohesive listen.

This band are among a small handful since the Norwegian explosion to understand the use of self-irony by those bands which allowed them to create an entirely new thoughtspace of evil beyond the nihilistic exterior imagery (e.g. Immortal, in my opinion the most philosophically profound of all metal bands). Averse Sefira understand this, and have absorbed another decade of metal musical advances in creating their own highly integrated, signature sound and mythos.

- the inessential -

Production: strangely understated, particularly the string section, which refreshingly focuses on mood and darkness as opposed to gleaming futuristic sharpness. The bass guitar is noticeable, often arising in warm throb to lead the music melodically, reminiscent of the first two Burzum albums in that.

Packaging: perfect. Personally engaging, but dark, with another Jonzig masterpiece on the cover. Goes perfectly with the first CD on the shelf.

© 2001 j.s.