The differences between the last four records from the UK’s preeminent black metal duo, Anaal Nathrakh, have been subtle and nuanced; so much so that it can really make a reviewer feel like a complete nitpicker. This is where being a fan of the band’s abrasive-yet-dynamic black metal shredding, and perceiving their subtle shifts under a microscope, can be equally satisfying as it is arduous. And their eighth studio album, Passion, is no exception.

First things first, if you’re a fan of anything this band has done in the last four albums, then get on board with this record ASAP. The speed/intensity is there as well as subtle experimentation – bordering on industrial tinges. Melodic singing that highlights otherwise harsh vocal exorcisms – check, black metal riffs that pack in the aggression first then provide you will-o’-the-wisp melodies – double check. And of course, incredibly tight production.

Speaking of, the production is actually one of the main shifts in sound for the ‘Rakh this time around. Here’s where this review might catch some flack, but if honesty is appreciated then we gotta call it like we see it, and that is quite simply that the production is almost a little too clean, too polished and, well… perfect. Let me qualify that a bit: when In The Constellation Of The Black Widow came out in ’09 it was in my ‘Top Ten’ of that year, and pretty high up on that list I might add. Being that Passion is the follow-up to that record, one of the main differences is that the buzzing edges have been dulled, peaks and valleys have been evened out a bit, and this has left the sound feeling as a bit more processed and not so much the ‘live and explosive’ sound that they’ve carefully managed to blend with their excellent level of precision. The equation needs to be balanced between those two, and this time it has lost some vibrance (again, just talking about production here, remember, just nitpicking) by being a bit more rigid.

Phew! Now that the major gripe is out of the way, let me say that listeners can expect a great experience with this album that stylistically stays in alignment with their previous efforts. “Post Traumatic Stress Euphoria” is certainly one of the more savage songs the band has penned and also contains non-stop amazing riffs one right after the other for the short 1 minute and 42 seconds of play time, making it one of the highest ‘no bullshit shredding to song length’ ratios the band has logged. I must also comment on “Tod Huetet Uebel” – a song that will most likely be known as, “that song with the crazy-ass vocals”. Honestly, when I first heard this track, I almost said outloud “WTF is going on?!” It sounded like a suicidal black metal vocalist getting his balls stepped on – turns out these guest vocals are from Rainer Landfermann of Bethlehem. But then, something happened: I grew to love it. It’s just so over the top, so unusual, and half of lines are recorded with a glitchy, cut-and-pasted quality that it feels like lyrics are literally being thrown at you from different directions. What can I say, I was won over.

Main vocalist Dave “V.I.T.R.I.O.L.” Hunt handles his position with aplomb as always (Re: hair-raisingly pissed off), but there’s something missing. There’s at least one track where I’m left wanting to hear his melodic vocals combine with the guitar to truly take flight in unison, and it’s not really happening on this album. Previous records had this – Domine Non Es Dignus had “Do Not Speak”, Eschaton had “Between Shit And Piss We are Born” (and also, “When The Lion Devours Both Dragon And Child”), Hell Is Empty, And All The Devils Are Here had “The Final Absolution”, In The Constellation Of The Black Widow had “More Of Fire Than Blood”. For some reason Passion doesn’t have that flagship of a song to be found on this record (“Paragon Pariah” maybe gets close, MAYBE).

Perhaps the weight distribution has shifted a bit more from the vocals to Mick Kenney’s riffs, who seriously needs to start getting more props for his riffs, on this album. The man is never experiencing a shortage of killer riffs that put many of their Scandinavian brethren to shame. The blend of aggression, eerie melodies and experimentation within the black metal framework is always exciting to hear at all points on this album. From the slower, but excellent tone-setter of an intro on “Violenti Non Fit Iniuria” and follow-up “Drug Fucking Abomination” to the black glass tornado of speed in the aforementioned “Post Traumatic Stress Euphoria” and also “Le Diabolique Est L’Ami Du Simple” there is a good cross section of speed and feeling represented.

Rather than succinctly say that, “this album should appeal to Anaal Nathrakh fans and likely bring some new ones into the fold” (ahem, lazy/generic reviewing), it really needs to be contrasted against their previous works to see how it stacks up in the band’s own context. As with a band like Amon Amarth, who have many albums and an established sound, you don’t compare the band to their contemporaries or their particular style, the band’s real competition is with themselves. So while I may seem critical, and maybe reach for In The Constellation… or Eschaton only SLIGHTLY before throwing Passion on to kick my ass, it must be said that this is a GREAT album from a band that has been consistently working hard to define a niche and sound which only they occupy.

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