Nevermore
This Godless Endeavor

THE REVIEW

An authentic miracle, there are no words. After their latest effort, dating back over two years ago—the controversial "Enemies Of Reality," a decent album but burdened by an absolutely subpar production—they return, the standard bearers of the so-called modern thrash—or "post thrash," if you will—with an album beyond every rosy expectation.

Right from the opener, that "Born," characterized by devastating and ultra-syncopated riffs and magnificent vocal lines, there is a strong sense that you are faced with an album far from negligible; a sensation that quickly heightens riff after riff, song after song.
"The Final Product," the second track, is one of the masterpieces of the album. The guitar work is as diverse as ever, ranging from uneven and angular muted riffs (drawing quite a bit from the repertoire of the ingenious Meshuggah), to rocky and surgical ones from the typically Swedish death school (At The Gates being the foremost); all, of course, filtered through the band's eclectic and unhealthy personality.
Dane’s vocals, now solemn, declamatory, and austere, now mocking and irreverent, reach heights of theatricality that haven't been heard since the glorious days of "Dreaming Neon Black." The music is a post-apocalyptic fresco of ruined metropolitan landscapes, rusty and desolate outskirts corroded by a slow and inexorable decay; or, alternatively, aseptic and hyper-technological laboratories dedicated to who knows what aberrant experimentation. The technique of each member is impeccable, and it is only surpassed by the creativity in executing it.

You will be overwhelmed by an orgy of dizzying solos (as intense as those in the best Death records), mind-bending tempos and countertempos—but beware, never gaudy or self-serving like some infamous prog-metal groups that I won't mention here—and abrasive and caustic passages of unheard-of heaviness, alternated with refined and disturbing acoustic introspections worthy of the best ballads of their previous albums (though not as pandering).
By way of example, I mention the title track, the summation and apotheosis of the album and perhaps of their entire discography: 9 minutes of incredible instrumental progressions, Middle Eastern and mystical suggestions, vocal histrionics, and moments of great epicness; the whole, needless to say, endowed with a stunning coherence and organic unity. In the opinion of the writer, metal album of the year (awaiting Opeth, Katatonia, and Novembre), and perhaps the best of Nevermore's entire discography. After the half stumble of "Enemies Of Reality," it was impossible to expect something like this, believe me...