Akercocke
Words That Go Unspoken, Deeds That Go Undone

Complex, dark, dreamlike work, which restores to the universe of extreme music a band that is increasingly in shape and confident, thanks to the support of their own means and professional skills. Thus, here is yet another demonstration of strength, made public in the album "Words that Go Unspoken Deeds that Go Undone" (it's not easy to remember such a title!), released during 2005, a full-length that comes after the lackluster "Choronzon" which had not fully convinced critics and fans, except for a few well-crafted songs like “Praise the Name of Satan,” “Bathykolpian Avatar,” and particularly "Leviathan," whose video is perhaps one of the most intriguing, passionate, and seductive I've had the chance to see in recent years. With the new work, we are, once again, faced with a band presented by critics as the cultured and diligent face of the extreme scene, thanks to their "refined" look (in suit and tie!) and their devoted approach to the satanic cult.

In some ways, these are just details; in others, these few details are enough to advise against listening. But... let's move on to analyze one of the most sophisticated and diverse works that their American label (Earache = literally earache) has ever released since its inception. Analyzing the general sound emerging from each individual song, it is important to say first that throughout the album, the listener encounters well-structured vocal parts and elegant keyboards, which, through their uniqueness, keep the focus high, especially on the melodic and intricate parts. As far as the black/death part is concerned, influences can be immediately noted, categorized primarily in Floridian death/brutal (Deicide style) for then moving through various Norwegian black sounds, fierce and sophisticated, taking as essential models the melodies produced by Borknagar (see "Verdelet") from the "modern era" Satyricon or bands like label mates Lunaris (extreme band of Norwegian origin with members from both Borknagar and Spiral Architect), without neglecting, albeit in very few sound flashes (especially regarding the voice) the music of fellow countrymen Cradle of Filth (see "The Penance").

In general, a well-structured and defined album, to be listened to only if one appreciates the deepest black metal (typical of Dødheimsgard or Lunaris, for example), but to be avoided if you cannot bear blackened death mixed with different genres, some parts are in a “progressive” style as in the title track “Words That Go Unspoken, Deeds That Go Undone” and in “Intractable,” in other points the gothic metal style emerges like in the closing track "Lex Talionis." As far as I'm concerned, I believe that this work deserves more than one listen to be understood; perhaps the songwriting still requires a bit more experience and inspiration, although the British Jason Mendonca already shows he has more than a solid foundation to tackle the works he plans to release for the future of the band.

"Words That Go Unspoken Deeds That Go Undone" is, therefore, a work of not simple assimilation, not devoid of minor blemishes, but worthy of attention and consideration, aimed at supporters of the most extreme genres of today’s music, as well as a more than encouraging hint for what will concern the future of the London Brits.