Extreme metal can take many forms. But in this time of ours where acts try to out-Flanderize each other1 — essentially extremity fitting into the mold of extremity to be extreme — there is less and less that can actually be considered extreme. Furthermore, we as consumers often look at albums under the lens of how heavy they are, whatever that means. Other extremes, like harmonic, melodic, or rhythmic complexity, are often not only overlooked but despised by the broader metal scene. Hell, the “go slow or go broke” mentality of funeral doom is no different — a niche genre at best but one I am personally fond of. The issue with funeral doom, however, is that it also develops very slowly. Few releases come out each year and even fewer attempt to reinvent the genre — some might say that the inherent risk of musical simplicity might attract people who are attracted to taking compositional shortcuts. Or stoners. Or both, most likely.
Ataraxie‘s 2019 album Resignés is what I would consider a modern milestone of the genre. At first, the album seems unassuming, as Ataraxie present their vision of funeral doom as a no-frills, heavily death metal inspired affair. Groovy riffs recall a bullet-time version of acts like Bolt Thrower or Gorefest, while violent outbursts both in speed and intensity recall both classic death doom acts like Incantation and diSEMBOWELMENT, the original forebears of the genre. Yet, Resignés felt uniquely hopeless. The cover, which could be mistaken for a particularly medieval reimagining of a Dying Fetus cover, portrays death as a hopeless endeavor, as meaningless and self-inflicted but also as a blunt affair. Resignés felt like a poignant end to a life without meaning, a death that itself means nothing. And it slapped musically, too, making simple riffs feel memorable and always being aware of when a pattern has gone on too long. Believe me, even as a fan I know that fun doom bands struggle with that.
Le Declín is the newest offering of those talented Frenchies, and I am glad to say that Ataraxie has not made the same album twice. And that the result is, yet again, quite good. Le Declín takes an overall more poetic approach to fun doom, while staying heavily death metal inspired. Where Resignés seemed hyper-committed to a feeling of hopelessness in a blunt way, Le declín feels like a narrative. Songs often devote time to building towards climactic moments and the album itself is structured in a similar manner. The faster sections are often a release to a buildup. Over slow, looming riffs, vocal favor falls to low growls, which turn to desperate howls and yells in the faster and cleaner sections. Black metal creeps in ever so slightly too, albeit it in the blackened death metal sense. The final trem section of the album in particular has not left my brain yet. Pumping, violent drums supporting a swarm of bees tremolo guitar, fitted into the background. Melodic guitars battle with heavy bass and a subtle clean choir. We have reached the lowest point, and it is glorious.
- Note to the editors, I will soon mention this in every review. ↩︎
