vote
7.0
Streaming not yet available
Odium Humani Generis is not a new name in the Polish black metal underground. The band, active since 2015, returns with a second album “Międzyczas” which represents a slight step forward in their musical journey that began with their four-year-old debut album “Przeddzień” and continued with the subsequent EP “Zarzewie”.
The band takes its name from the lyrics of the song “My Death” by Mayhem, which in turn quotes Tacitus' expression in his work “Annales” in which he tells of the emperor Nero who accused the early Christians of arson in Rome.
Odium Humani Generis means 'hatred of the human species', but don't expect a totally nihilistic and hateful black metal as the name suggests, because you will be quite surprised. “Międzyczas” instead lives on songs with a depressive and melodic mood, balanced between immediacy and the search for slightly more intricate solutions and often taking full advantage – but with due proportions – of the sound of Mgła.
Almost every song is built on simple harmonic progressions enriched by the good work of the guitar arrangements, supported by linear midtempos of the early Katatonia school and occasionally by accelerations that never have the purpose of hurting, but rather of raising the level of intensity. In this sense, the track that gives its name to the album represents a perfect example of this, with its sad melodies and its varied and dynamic pace, as well as “Granice”, which in many moments pays the price to an album like “Brave Murder Day”. More monolithic instead “Popłoch” which, in its alternation between blast-beat, double bass midtempo and riffs bordering on thrash, inserts synth sections that are never invasive but effective. Also interesting is “Jarzmo”, whose first part highlights bass work reminiscent of The Cure and clean guitar arpeggios, before flowing into a more epic black tone, a sort of counterpart to the classically Scandinavian black of “Drogowskaz”.
The merit of Odium Humani Generis is that of being able to give each song its own identity despite everything revolving around overused formulas, with the result that almost every song can be listened to without too many problems.
If we want to discuss the longevity of an album like “Międzyczas”, it is quite clear that these positive aspects are not enough to make it stand out from the mass of releases of the period, but we are equally sure that it will not struggle to gain the right appreciation from those who follow the underground undergrowth of less orthodox black music.
Daniel D`Amico for SANREMO.FM