siLLy puPPy Completing the third installment of the Satanic metaphysical trilogy that shocked the world with black metal being taken to unthinkable technical complexities with themes that focused on the highly advanced Satanic theology inspired by the philosophies of George Bataille, Michel Leiris and Pierre Klossowski, the French black metal band DEATHSPELL OMEGA released PARACETUS which is the Latinized form of the Greek world παράκλητος (parákletos), meaning “comforter,” and synonymous for the Holy Spirit. Released in 2010 after a couple of EPs and a split, PARACLETUS served as a recording that resolves the band’s three act magnum opus that made 90s black metal look like schoolchildren.

As anonymous and mysterious as ever DOS ended the trilogy with a collection of ten tracks that are more tightly constructed and really does have a feel of conclusion as if PARACLETUS is the final act where the resolving battle and judgment allow the dark forces’ reign comes to fruition. It wasn’t until i finally heard this third episode of DEATHSPELL OMEGA’s Satanic saga that it occurred to me that the trilogy really runs together, musically as well as thematically, as a single cohesive unit where each album resonates as an entire act of a much larger black opera for the lack of a better term. Following 2004’s “Si monvmentvm reqvires, circvmspice” and 2007’s “Fas - Ite, Maledicti, in Ignem Aeternum,” the latter of which introduced bizarre new dynamics that included dramatic pauses and stylistic shifts, where the final track “Obombration" essentially served as a two minute symphonic intermission designed to be followed.

That’s where PARACLETUS comes in as it eschews the subtle atmospheric swirls of “Fas - Ite” and instead jumps into the bombastic caustic and atonal jangle chord swarms of din of “Epiklesis.” The album overall is a much heavier and rampaging one with less moments of downtime in the form of slower creeping, almost doom metal in its processional prowl. Like the band’s previous album’s DEATHSPELL OMEGA doesn’t employ many new tactics on PARACLETUS as all had been established therefore this third installment of the trilogy comes off as less impacting as the shock value had been exhausted and the main focus is on the highly advanced compositions that tackle the complexities of progressive rock and 20th century classical music in black metal regalia.

Generally speaking the beginning and end of the album are heavier with rampaging stampedes of sound while the mid-section around “Phosphene” offer those cooling off periods with slower, less complex and more introspective ones often with choral chanting replacing the snarling raspy shrieks of Mikko Aspa’s effective vocal approach. The atonal jangle guitars appear in abundance as the tale of the virtues of advanced Satanism employ the multitude of stylistic shifts that DEATHSPELL OMEGA has mastered with nary a misstep in execution. While less depend on symphonic accoutrements, there are moments as in “Epiklesis II” where a parallel sound effect accompanies the jangle guitars but tracks like “Malconfort” with faster tempos and caustic sonic assaults are more the norm on PARACLETUS.

While excellently performed as usual it surprises me that PARACLETUS remains the most popular DEATHSPELL OMEGA release in some circles which perhaps is the result in that it’s a bit more accessible than its predecessors but is less effective for that otherworldly experience that the perfection of “Fas - Ite” delivered. For that reason PARACLETUS is my least favorite of the Satanic metaphysical trilogy of albums as it’s a bit more predictable and doesn’t really offer anything new to the DSO sound and rather relies on simply changing things around a bit. Despite the connective tissue that clearly links it with previous material, make no doubt about it that PARACLETUS is still worthy of concluding what many deem as black metal’s most effective multi-album run. For those who prefer the most bombastic of the trilogy, this one probably wins but i personally prefer the greater spectrum of stylistic shifts that “Si Monvmtvm” and “Fas - Ite” offered.

Warthur Imagine a black metal band hijacked an orchestra's tour bus and forced the musicians to play whilst they were driving over a bridge - that's the sort of dense, multilayered cacophony which greets the listener when you put on Deathspell Omega's Paracletus. Using a wide range of instrumentation, careful production and the techniques of genres ranging from post-rock to noise rock as well as their avant-black metal roots, the band create something which at first listen sounds like typical black metal chaos, before you realise that in fact it's a richer, denser mass than first appears. There's always a bit more going on with Deathspell Omega than meets the eye, and nowhere is that more true than on Paracletus, though I found the album was diminished on subsequent listens because it feels a little like they are throwing lots of ingredients into the pot to cover for the fact that they don't truly excel at any one thing but are quite good at pastiching lots of things.

J-Man Devouring Famine

Released three years after their highly acclaimed Fas - Ite, Maledicti, in Ignem Aeternum, French avant-black metal band Deathspell Omega returns with another competent album, Paracletus. Although the band doesn't play a style of music that I can call myself a fan of, fans of experimental, noisy, and dark technical black metal will really enjoy this one. As for myself, I honestly only enjoy Paracletus in small bursts. This album seldom has melody and is mainly focused on enough dissonance and speed to make your head explode. For some people, this extremely difficult and challenging music may be a good thing. I'd much rather put on a less experimental black metal album, but the quality here is unquestionable. Although Paracletus is a very hard album to sit through for someone who isn't a huge fan of avant garde music, the album's inaccessibility is what will make it so great for some people. This isn't for the faint of heart at all, but anyone who's looking for very challenging music will definitely enjoy Paracletus.

The music on Paracletus is a cross between old school black metal, avant-metal, and noise rock. The insane blast beats, low-fi production, and vocal styles all hint towards black metal, though the album is clearly very experimental in attitude. The songs are mainly built off of speeding blast beats, dissonant chords, and shrieking vocals. There are occasionally some more melodic parts, but keep in mind that most of Paracletus is extremely heavy and technical. The level of musicianship in Deathspell Omega is unquestionable, and ultimately the best thing about the band. The guitar playing and drumming are the most notable, considering this album is filled to the brim with complex drum patterns and fast guitar riffing. The compositions get quite monotonous at times, but the level of musicianship often makes up for it.

The production is very lo-fi, so you can take that as you will. For black metal fans, that's probably a good thing, but for some people that may be a detriment. I personally think the unpolished production style adds to the atmosphere of the album, despite the setbacks that it creates in terms of bass audibility and the sound of the drums. There are quite a few times on this album where the drums just sound plain awful, and it's a bit of a shame. The sound is an acquired taste, though, and I could understand black metal fans thinking this sounds great.

Conclusion:

Paracletus is a good, sometimes even great, album by Deathspell Omega. I can see fans of avant-garde and twisted black metal really liking this one. Unfortunately, when it boils down to my own personal taste, I'm not nearly enough of an experimental black metal fan to completely grasp this one. As it stands, this is worth 3 stars for the appeal it will have for its intended audience. I would approach this one with caution for anyone who isn't already a fan of Deathspell Omega, however.

Time Signature Have you beheld the fevers...

Genre: avant-garde/experimental black metal / extreme noise rock

Deathspell Omega is considered a groundbreaking black metal band in many ways, and there certainly are black metal elements on this album - namely, the use of blast beats and the harsh vocals, and there is also a general darkness to this album that is probably inherited from the band's black metal roots.

But other than that (and perhaps the lyrical concept), and I hope I am not offending any black metal fans here, there is not a lot of black metal to Deathspell Omega's fifth studio album "Paracletus". With its not extremely distorted guitars, it is more an avant-garde type of extreme metal meets noise rock, as Deathspell Omega make extensive use of dissonant chords and generally unusual harmonies (or disharmonies). There are hardly any breaks between the tracks which segue into one another seeming more like movements of a larger musical opus. There is not a lot of distinguishable melody on this album, but some of the riffs do have built in melodic elements. What is interesting is that, although this is essentially rhythmic music, the liquid nature of the tracks and performance almost makes this album have an almost soundscape-ish effect on the listener.

As a piece of art, "Paracletus" is a very interesting release, but as a piece of music, it is a very, very, very challenging listen which requires a lot of attention and effort from the listener. But I think that this is the whole purpose of the release.

Recommended to fans of avant-garde music who are not afraid of blast beats and dissonant chords.

Conor Fynes 'Paracletus' - Deathspell Omega (9/10)

Originally producing a much more primal brand of black metal in their earlier days, French avant-metal act Deathspell Omega has come a long way from their origins.Having adopted many more technical and ambitious traits into their music, it may be surprising to some that the band hasn't lost any of their dark atmosphere in making the transition. With their fifth full- length album 'Paracletus,' the band affirms this marriage of atmosphere and complexity, and has crafted an astounding, haunting and provocative piece of music that builds on their existing fervor and strength as one of the most innovative acts in the black metal realm.

The conclusion to an adventurous trilogy surrounding the relationship between God, Satan, and Mankind, 'Paracletus' derives it's name from the Greek word for 'comforter,' which has since become synonymous with the idea of the 'holy spirit.' While the album is incredible as a standalone work, it should be noted that this complex and progressive style was used to similar effect on the two previous albums, 2004's 'Si Monumentum Requires, Circumspice,' and it's follow-up 'Fas - Ite, Maledicti, in Ignem Aeternum.' While these three albums are linked by style, 'Paracletus' itself is bound by a nearly seamless sense of cohesion, giving the effect of an epic 'suite' rather than a collection of tracks.

Despite a very unique approach to the genre, it's very clear that 'Paracletus' is a black metal record at it's core. The inhuman growls, shrieks and blastbeats of the genre are here in no short supply, but it's really the vibe and atmosphere that ties it in so well with the style. Ranging from some incredibly technical and chaotic segments ('Wings Of Predation') to the more mellow, almost 'post-rock' elements ('Dearth'), 'Paracletus' is tied together by a haunting, deeply unsettling and 'evil' atmosphere.

In 2010, it's still clear that Deathspell Omega has not lost a hint of their penchant for calculated madness, and have no intention of slowing down. While the technical insanity may turn off some of the more traditional black metal fans out there, 'Paracletus' will indeed be remembered as one of the premier albums of the genre released in the new decade, and a possibly classic addition to this band's career.

kogaionon “Paracletus” – the last of the grand three...and what a great job these guys did by maintaining the standards set by “Si Monvmentvm Reqvires, Circvmspice” and “Fas - Ite, Maledicti, in Ignem Aeternum”. If the first album from this trilogy came as a complete surprise, the success of “Fas - Ite, Maledicti, in Ignem Aeternum” (2007) and “Paracletus” (2010) in completing this majestic three-piece work of art was somehow expected by the release made in 2005 (the absolutely phenomenal “Kénôse”) and in 2008 (with the excellent duo “Veritas Diaboli Manet in Aeternum: Chaining the Katechon” – “Mass Grave Aesthetics”). So, after two ground-breaking albums and three exceptional EPs, “Paracletus” came as a natural continuation of their unique style that has influenced and changed the Black Metal scene.

Unlike the previous two albums, “Paracletus” starts off with straightforward riffing and playful cymbals; no choral intros, no atmospheric constructions, just sheer brutality. ‘Epiklesis’ I and II both contain verses in English, Latin and in the newly-added French (I was wondering when will they write in their own language). While the album delivers a more standard Black Metal style (starting from ‘Wings of Predation’ and ‘Abscission’), the dissonant guitars are omnipresent, side-by-side with the chaotic bass and drums that build-up great structures in the evolution of ‘Dearth’, ‘Phosphene’, ‘Malconfort’, ‘Have You Beheld the Fevers?’. And so we stand before ‘Devouring Famine’ and ‘Apokatastasis Pantôn’ – you will get crushed by the incredible polyrhythmic fast-drumming. Everything speeds-up at the end, the feelings get more intense than ever while the haunting guitars just tear you apart; all that has been constructed, created with great skill will crumble upon you from immense heights to intense burning depths.

“You were seeking strength, justice, splendour! You were seeking love!

Here is the pit, here is your pit! Its name is SILENCE…”

...and this fabulous trilogy comes to an end. The value of Deathspell Omega’s work is unquestionable when it comes to atmosphere, ideology, verse-writing, technique, construction and destruction.