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#DebemurMortiProductions

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Angry Metal Guy<p><a href="https://www.angrymetalguy.com/mutterlein-amidst-the-flames-may-our-organs-resound-review/" rel="nofollow noopener" target="_blank">Mütterlein – Amidst the Flames, May Our Organs Resound Review</a></p><p><i>By Dear Hollow</i></p><p>I’ve always unfairly ranked <strong>Rorcal</strong> above <strong>Overmars</strong>. What can I say? I got into <em>Heliogabalus</em> and <em>Born Again</em> around the same time, enamored by both single epic song interpretations of hardcore vigor, pained dissonance, and pitch-black sludge<span>. Still, <em>Heliogabalus</em></span> took the cake when it came to bottom-scraping hellish riffs, wailing, and gnashing of teeth. Themes differ, as <strong>Rorcal</strong>’s elegant storytelling added further majesty to their colossal attack, while <strong>Overmars</strong>’ scrappy commentary on injustice and religious trauma owed a more anti-establishment aura. <strong>Rorcal</strong> remains one of my favorite acts, while <strong>Overmars</strong> broke up in 2011. Out of sight, out of mind, but it wasn’t until now that <strong>Overmars</strong> has come back to haunt me in the form of <strong>Mütterlein</strong>.</p><p><strong>Mütterlein</strong> is a project of <strong>Overmars</strong> vocalist/bassist Marion Leclercq,<a href="https://www.angrymetalguy.com/mutterlein-amidst-the-flames-may-our-organs-resound-review/#fn-216558-1" rel="nofollow noopener" target="_blank">1</a> but the sound in comparison to <strong>Overmars</strong> is a spiritual successor only. The sludge is present in the density in much the same way <strong>Author &amp; Punisher</strong> offers, in walls of electronic darkness, synthesized percussion, and trip-hop beats, while climactic moments of mammoth post-metal chugs crash through like a freight train. Always rooted in more ominous atmospheres recalling the resounding organ of its cover, third full-length <em>Amidst the Flames, May Our Organs Resound</em> offers an electronic trip to the shadows that feels grandiose and explosive where it ought to, but far too stripped down in others.</p><p></p><p><strong>Mütterlein</strong> revolves its movements around a synthesized beat, resembling either a darkwave pulse that feels a tad like <strong>Perturbator</strong> or a thunderously precise snare that feels like an electronic interpretation of <strong>Isis</strong>, and its movements flow around and atop it. It’s a simple but effective structure, as largely these percussion movements carry across an entire song, while Leclercq’s atmospheric songwriting allows more metallic movements to mesh in a slurry with the synth-driven elements that combine into a haunting overture that recalls some of horror’s more cinematic moments. From a synth-centric version of <strong>Amenra</strong> in its diminished post-metal rhythms, leads, and call-and-response riffage (“Wounded Grace”) to the pulsing wave of density interwoven with angelic choirs atop trip-hop beats (“Concrete Black,” “Ivory Claws”), and guest appearances of Church of Ra’s <strong>Treha Sektori</strong> in sprawling dark ambient interludes (“Memorial One,” “Memorial Two”), <strong>Mütterlein</strong> has a formula that is effectively simple and simply crushing when it needs to be, although its more minimalist pieces drag on for far too long (“Anarcha,” “Division of Pain”).</p><p><strong></strong></p><p><strong>Mütterlein</strong> places its claustrophobic sound design front and center, and like any good post-metal album, vocals are just another instrument in <em>Amidst the Flames, May Our Organs Resound</em>. It’s a bit of a shame, because Leclercq gives her most passionate and disconcerting vocal performance, relying on a drawling Audrey Sylvain (ex-<strong>Amesoeurs</strong>) post-punk groan (“Ivory Claws,” “Memorial Two”) and a rabid Kristin Michael Hayter (formerly <strong>Lingua Ignota</strong>) sermonic howl (“Memorial One,” “Division of Pain”). Too much of the music becomes monotonous and repetitive without enough of her vocals to keep up the vigor and energy, its pulse quickly dwindling to a flatline (“Division of Pain”), making the tracks that feature a switch-up at its midpoint highlights (“Wounded Grace,” “Ivory Claws”). The sound palette is nice when her vocals guide the horror, giving a climactic three-prong attack of vocals, electronic pulses, and overlaying leads, but when one of those crucial elements is removed, <strong>Mütterlein</strong> quickly loses its bite.</p><p>I miss <strong>Overmars</strong>, but <strong>Mütterlein</strong> offers a brand new sound that’s both densely crushing and darkly atmospheric, even if the sound is imperfect. Recalling the likes of <strong>Author &amp; Punisher</strong> in swaths of punishing electronics, <strong>Amenra</strong> in its haunting melodic approach, and <strong>Lingua Ignota</strong> in the fury behind the mic, there’s a lot to like about <em>Amidst the Flames</em>. However, there’s a thin line between intrigue and monotony, and when the track goes too long or Leclercq removes her vocals, the result becomes painfully dull in its more stark passages. Feeling a tad long at a normally reasonable forty minutes, <strong>Mütterlein</strong> offers a mixed bag with triumphant highs and dull lows in <em>Amidst the Flames, May Our Organs Resound</em>.</p> <p><strong>Rating:</strong> 2.5/5.0<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 320 kb/s mp3<br><strong>Label:</strong> <a href="https://www.debemur-morti.com/en/" rel="nofollow noopener" target="_blank">Debemur Morti Productions</a><br><strong>Websites:</strong> <a href="http://mutterlein.bandcamp.com" rel="nofollow noopener" target="_blank">mutterlein.bandcamp.com</a> | <a href="http://facebook.com/mutterlein" rel="nofollow noopener" target="_blank">facebook.com/mutterlein</a><br><strong>Releases Worldwide:</strong> May 9th, 2025</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2-5/" target="_blank">#25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ambient-metal/" target="_blank">#AmbientMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amenra/" target="_blank">#Amenra</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amesoeurs/" target="_blank">#Amesoeurs</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/amidst-the-flames/" target="_blank">#AmidstTheFlames</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/author-punisher/" target="_blank">#AuthorPunisher</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/debemur-morti-productions/" target="_blank">#DebemurMortiProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronic/" target="_blank">#Electronic</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/electronica-metal/" target="_blank">#ElectronicaMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/french-metal/" target="_blank">#FrenchMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/industrial-metal/" target="_blank">#IndustrialMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/isis/" target="_blank">#Isis</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/lingua-ignota/" target="_blank">#LinguaIgnota</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/may-our-organs-resound/" target="_blank">#MayOurOrgansResound</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/may25/" target="_blank">#May25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/mutterlein/" target="_blank">#Mütterlein</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/overmars/" target="_blank">#Overmars</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/perturbator/" target="_blank">#Perturbator</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/post-metal/" target="_blank">#PostMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reverend-kristin-michael-hayter/" target="_blank">#ReverendKristinMichaelHayter</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/rorcal/" target="_blank">#Rorcal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/treha-sektori/" target="_blank">#TrehaSektori</a></p>
Angry Metal Guy<p><a href="https://www.angrymetalguy.com/blood-abscission-ii-review/" rel="nofollow noopener" target="_blank">Blood Abscission – II Review</a></p><p><i>By Thus Spoke</i></p><p>We tend to underestimate how great a role knowledge of the artist plays when experiencing their art. Even if unfamiliar with their work, the awareness of them as a person (or group of people) whose intentions are either plain or discoverable through interviews, notes, or academic consensus informs our opinions insidiously but inevitably. In an age when self-promotion is easier than ever thanks to the internet, a musician choosing to remain anonymous speaks to a desire to center their music in as absolute a way as possible. Who comprises <strong>Blood Abscission</strong>, and how many of them are there? That may never be known.<a href="https://www.angrymetalguy.com/blood-abscission-ii-review/#fn-214658-1" rel="nofollow noopener" target="_blank">1</a> All that exists is their art. This too eschews identity beyond numbers: sophomore <em>II </em>following in inevitability debut <em>I</em>, and all tracks bearing only the numerals of their album position. We must listen to <em>II</em> exactly as it is, with only <strong>Blood Abscission</strong>’s solemn proclamation as potential guide: “United in pain, we step into the abyss – not as mere individuals, but as a collective force seeking meaning within the chaos, finding a voice in the silence between the stars.”</p><p>Though I discovered it in retrospect—the debut having been dropped via self-release with zero fanfare—<em>II </em>continues exactly as <em>I </em>began. Blistering, raw-adjacent atmospheric black metal, relentless beyond the occasional lapses into dreamy gaziness where the keyboards shine and feedback hums (“III,” “IV”), not unlike a synth-obsessed <strong>Alcest</strong>. Its intensity, the desperate, unintelligible screams of the vocalist, and the grand melodic themes see-sawing between melancholy beauty and eerie dissonance bring to mind <strong>Aara</strong> on one face (“I,” “V”), <strong>Decoherence</strong> the other (“II”). <em>II </em>feels like an exercise in pure catharsis, the repeated climaxes of ever-fiercer roars and ascending tremolos communicating only unfiltered emotion, and the contrastive stillness a cleansing indifference. With no identifiable words, and even the muffled samples dampened beyond comprehension, <em>II</em>’s features are solely confined to this ebb and flow, amplifying once more the facelessness and pure aesthetic centrality that <strong>Blood Abscission</strong> impose by not naming it, or themself. It is a musical black hole, both in atmosphere and sparseness of properties, and is appropriately powerful.</p><p></p><p>Unlike an actual black hole, <em>II </em>is something we can escape from, though <strong>Blood Abscission</strong> do a good job of holding you in place. At its most ardent peaks, when beauty pitches fearsomely into urgency, it is hard to ignore, let alone switch off (“II,” “V”). The moves from one state of being to another are smooth, regardless of their speed—whether neo-second-wave and assured to a vulnerable undulation between sorrowfulness and heartenedness (“I”), or gentle contentment to grieving resolution (“III”). “IV”‘s emanation out of the chiming whine of “III,” and procession into the torrent that opens “V,” is not just an obvious example of this compositional fluidity, but itself proves to be a thoroughly absorbing interlude that belies its length. <em>II </em>repeatedly invites introspection, and does so through its rawness that reaches beyond the way the vocals and instruments are mastered, a corollary of the necessary focus on the sweep of its melodies, interplay between airy keys and darker riffing, and the tides dictated by pleasingly crisp percussion. The echoing croon of an escaped tremolo, the escalation of a minor refrain into devastation, and the torture of a conclusive shriek—with the closing act of “V” standing as the album’s crowning glory in this regard—are notably affecting.</p><p></p><p>Yet <em>II</em>’s consistency in perdurance is a double-edged sword. While full immersion grants the listener an undoubtedly intense and emotional experience, less conscious enjoyment threatens to leave them a little cold, outside of standout apexes at least. Perhaps this is always a danger with atmo-black, particularly of this more unrestrained and unstructured variety. I can testify that after spending some time with it, its magnitude seems greater than it did initially, thanks to deeper appreciation of its nuances, but even the influence of <em>II</em>’s potency doesn’t eliminate flaws entirely. <em>II </em>could stand to be a shade shorter, to give every moment more impact; something not needed so much by its peaks, but from which some of its lingering passages would gain better standing as transitions of beneficial steadiness between outbursts.</p><p>With so much atmospheric and raw black metal out there that might as well be anonymous for all its uniformity and ironic placidity, <strong>Blood Abscission </strong>stand out not only with real anonymity, but music that speaks for itself. In form resisting memorability, in actuality quite impactful and resilient, <em>II </em>shows what the genre is capable of. Even if it lacks the concrete immediacy to solidify it into long-standing greatness, its noise is not meaningless, and its meaning is not lost, however imprecise it might seem.</p> <p><strong>Rating:</strong> Good<br><strong>DR:</strong> 6 | <strong>Format Reviewed:</strong> 320 kb/s mp3<br><strong>Label: </strong><a href="https://www.debemur-morti.com/en/" rel="nofollow noopener" target="_blank">Debemur Morti</a><br><strong>Website: </strong><a href="https://bloodabscission.bandcamp.com/album/i-i" rel="nofollow noopener" target="_blank">Bandcamp</a><br><strong>Releases Worldwide:</strong> April 11th, 2025</p><p><a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2025/" target="_blank">#2025</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/30/" target="_blank">#30</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aara/" target="_blank">#Aara</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/alcest/" target="_blank">#Alcest</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ambient-black-metal/" target="_blank">#AmbientBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apr25/" target="_blank">#Apr25</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/atmospheric-black-metal/" target="_blank">#AtmosphericBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/black-metal/" target="_blank">#BlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/blood-abscission/" target="_blank">#BloodAbscission</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/debemur-morti-productions/" target="_blank">#DebemurMortiProductions</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/decoherence/" target="_blank">#Decoherence</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/ii/" target="_blank">#II</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/raw-black-metal/" target="_blank">#RawBlackMetal</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/review/" target="_blank">#Review</a> <a rel="nofollow noopener" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/reviews/" target="_blank">#Reviews</a></p>