There is a band called Ergotism that hails from France, a duo performing Black Metal and known from a self-called independently released full length in August 2015. And there’s a band called Ergotism that hails from France, a duo performing Black Metal and known from an independently released full length in August 2015, called Notre Terre, Nos Aieux, Notre Fils Et Nos Morts… This review deals with Ergotism, a band that hails from France, a duo performing Black Metal and known from an independently released full length in August 2015, called Notre Terre, Nos Aieux, Notre Fils Et Nos Morts…, and being re-released shortly after on CD via Germany’s finest Pesttanz Klangschmiede. I think this was a clear, informative introduction – no confusion left…
Notre Terre, Nos Aieux, Notre Fils Et Nos Morts… (which is French for ‘our soil, our forefathers, our son and our dead’), as said, has been re-issued on 4-page CD in an edition of 500 copies, coming with cover artwork taken from Gustave Doré’s ‘Bohemond Alone Mounts The Rampart Of Antioch’. The album lasts for forty-two minutes and unfortunately there are no lyrics included. But seen the title, artwork and song titles (especially in Latin), I think the concept might be quite clear: the Templars and the crusades in general, and the first crusade in Antioch (the Byzantine empire) more specifically.
As introduction, Notre Terre, Nos Aieux, Notre Fils Et Nos Morts starts with Fortis Pagna, an acoustic Pagan / Neo-Folk piece with melancholic harmonious vocals, melodic acoustic guitars, some percussion and sounds of nature. And you know: it is a very fine prelude to what’s next to come. With Mane Humilis, Ergotism enter the territories of raw, primal and paganised Black Metal. Pretty much in the vein of many trans-European colleagues, the duo (B.uulx and J.uulx, with a third session musician) creates a pounding and heavy mixture of epic and melody. Vocal-wise, you got those grim, throaty screams at the one hand, and several parts accompanied by somewhat soaring clean voices, spoken words (though quite rare), and harmonious choirs. The speed balances in between mid-tempo and fast, nicely interchanging in between both, with some exceptional slower parts at the one hand, and occasional burst-outs at the other. It’s ingeniously done that way, for the victorious character of Ergotism’s Pagan-Black Metal gets strengthened by this structured variation. A few (semi) acoustic intermezzi might focus even more on the aspects of conquer, glory and pride. And of a cool approach too are the injection of several melancholic fragments for sure. These ones are like introspective moments, praying to the gods of war, begging for forgiveness before the slaughter of the enemies. The battle is not meaningless, and blood will be spilled, but the innocent will have their freedom! The concept is clear…
The sound quality is based on an unpolished production, with a very raw edge of execution, yet a decent mix for sure. Often, such rough recording misses a nice mixture-equilibrium, but in Ergotism’s case, the registration sessions (at Eightmix) come with a very honest balance in between the different vocal / instrumental elements. Besides, the epic, proud, sometimes nostalgic atmosphere surely grows, increasing the glorious concept of this album.