ALBUM REVIEW: Baest – Necro Sapiens

Danish Death Metallers BAEST are back with their 3rd full length album in a mere 4 years, let’s hope they have maintained the high quality of its two predecessors. Out via Century Media Records on March 5th.

Clanging samples set the album off with a slightly unnerving and abrasive quality, certainly enough to grasp ones attention while not needing to go overboard with effects. Grisly, doomy riffs coated in a thick charnel melody spew forth with an eruption of pummelling drum and cymbal work. Immediately the grotesque yet impressive musicianship lays a captivating foundation for a monolith to be built upon, minimal yet crushing. Snarling vocals add wretched gutturals to the savagely concocted instrumentals, delivering a devastatingly brutal yet tight slab of subterranean death. The groove of this album along with the melodic side of things has certainly been ramped up, straying a bit further from simplistic Swedeath worship with a bit more flavour of their own, showing Baest have developed a bit more personality while still retaining their old school Death Metal barbarity. There is certainly a gothic flourish to some of the melodies which is an unexpected touch yet one that is pulled off remarkably well in conjunction to the ripping grooves. Blistering forth, tracks like “Necro Sapiens” deliver that much more barbarian, gritty Death Metal of which Baest have always excelled at. Though it is interested to note the lingering melancholic notes from more gothic pieces such as “Genesis” which came before it. A strong beginning that will be interesting to witness what unfurls next on the album, as I can safely say it is not a predictable affair.

I will be the first to admit that during the first couple of tracks, there is a part of me waiting for the big HM-2 chainsaw assaults, ferocious drum onslaught and bestial vocals to deliver a tempest of rampaging Swedish style Death Metal. So, are Baest using these earlier moments to build up to a titanic slab of brutality, or have they simply decided to take their Death Metal down a gothic and more sombre pathway? The ravenous aggression is certainly still here, as is the ferociously killer songwriting and magnificent delivery. What has changed is the tonality, quite a large shift from the European sound to a more American style of Death Metal is probably the most obvious way I can summarise how Baest sound different than on the first two records. This is certainly not a bad thing per se, as they definitely deliver brilliant music and perhaps have shed the skin of their influences defining their sound in favour of a far more honest approach. This said, I must admit I was initially a bit disappointed not to be greeted with a slew of Swedish chainsaw riffs and d-beat grooves. Thankfully, the monstrous brutality of tracks like “Abattoir” and “Towers Of Suffocation” certainly satiate ones desire for putridity with a rotten slew of cosmic riffing and unrelenting drum work to back up the visceral vocal delivery. Things continue to look incredibly hopeful.

“Goregasm” booms in with thunderous drums and flanger-drenched guitar chords, concocting an eerie atmosphere before a storm of dreary riffs fire into life. This drawn out piece certainly gives a tasteful break from battering Death Metal in favour of a more mid-tempo groove-fest that will certainly appease all headbangers in a live setting and spaces out the album really nicely. The production on this album is massive, with a dense wall of brutality that perhaps works against the old school tagline but inarguably delivers the band in crushing style more akin to the likes of Skeletal Remains and co than their usual Nordic contemporaries. With little respite offered throughout, the energy and unwavering brutality of the album is ceaseless yet retains plenty of interest with dynamic musicianship that may stick to a fairly strict set of rules but has plenty of flavour while doing so. The more angular Morbid Angel style riffs are absolutely riveting while perhaps a little bit formulaic in their progressions at times, though still make for a hugely enjoyable listen. An interesting development from more gothic eeriness to otherworldly Death Metal insanity that is definitely interesting to behold. The closing track “Sea Of Vomit” is an absolutely glorious slab of music that certainly left me excited to see what Baest do next, a truly astounding end to the record.

Baest have parted ways with their Swede-worshipping chainsaw riffs in favour of more American Death Metal. Still wearing their old school adoration on their sleeves, this album is a monstrous slab of old meets new. Crushing production, vile riffing, pulverising drums and meaty vocals all meet in a storm of ferocity with tight and well-executed delivery. Those, like myself, who may be initially disillusioned with the lack of Dismember worshipping should definitely stick with it, this thing is still a beastly album that deserves the attention, just in a vastly different direction than before. While preference and attitudes to the somewhat technical edges may cause a divide in opinion, Baest are still formidable force in the Death Metal scene whom demand your respect. As I stated earlier, I remain more enchanted by the bands earlier works due to my preference for that gritty and violent style of Death Metal, however this is undoubtedly a leap forward in musical ability and originality and a fearsome work of extremity all the same.