The first big shock comes from opener “The Dark Host.” A sullen violin played by Earthen Grave’s Rachel Barton Pine sets up the feelings of despair and emptiness for the next seven minutes. The song transitions between a crippling mid-paced tempo and a soothing melodic breakdown, finishing in chaotic fashion. This type of dynamic is one of the staples of Novembers Doom’s sound, as heard in calmer affairs like closer “Shadow Play” and the two-part “Of Age And Origin.”
Nothing on Aphotic is as brutal as “Rain” or “Lazarus Regret,” though sections of “The Dark Host” and “Harvest Scythe” come close. That might disappoint those hoping to see the death metal side of the band exposed. It isn’t a big loss, as the best moments on the record are when the band explores melodies that seemed to be off-limits before. For long-time fans, it’s reassuring to know Paul Kuhr continues to have one of the best growls in the business. Unlike the band’s other efforts, his clean vocals are the attraction.
Kuhr’s clean vocals have been inconsistent in the past, but that is no issue on the record. His big impact is made on the magnificent ballad “What Could Have Been.” Raw and stripped to just acoustics, violin and piano, Kuhr puts his entire self into this one track. His back-and-forth with the angelic vocals of Anneke Van Giersbergen is fantastic, and when they go at it together, it’s pure bliss. This style has been done in the past; however, “What Could Have Been” has a poignant emotional outburst on a level not heard by the band before.
Past albums have focused on lyrical themes surrounding religion, water, and the changing of seasons. Aphotic tackles the darkness within us, the unsavory thoughts that sometimes dictate our lives. Light-heartedness has never been the band’s strong suit, and this go-around is no different. Disturbing lines like, “I will fill your soul with pain. I will make you pray for your death,” from “Buried” are the norm, which will please fans and creep out everybody else.
It’s hard not to recommend Aphotic to the metal masses. There are chances taken and risks that pay off. There may be some backlash to the calmer “What Could Have Been” and “Shadow Play,” but the band has been doing this kind of stuff for years; they just aren’t holding back anymore. That mentality does wonders in Novembers Doom composing one of finest albums of their career.
(released May 10, 2011 on The End Records)
