A relative new arrival to black metal, France’s BA’A stirred up things a bit with 2020’s Deus qui non mentitur, the debut embracing the overarching aspects of the genre without seeming beholden to tradition to the point of obstinance. Now don’t get me wrong, I can fully respect a BOLT THROWER-esque refusal to move either “forward” or “backward” sonically, it’s just that to have put up such an image for BA’A – especially given the pedigree of its members – would’ve seemed dishonest. And thus, credit where due.
Not having nearly enough French to even begin deciphering Egregore lyrically, I’ll take it at face value as described, an interpretation of the horsemen of the apocalypse, and move on. I often find, as I’m sure many do, that if the passion is there, the intent will come through at the emotional level.
‘In Umbra et Luce’ begins almost psychedelically, the spoken delivery of RMS Hreidmarr guiding us into a melodic maelstrom recalling his time in ANOREXIA NERVOSA. Far from a one-man show, though, the musical aspects of this black trinity are of equal import, stringsman Maximillien Brigliadori filling the space with just the right blend of treble scythe-slicing as Death himself.
Of note especially here (and throughout BA’A’s catalog thus far) is the rhythm work of Emmanuel Zuccaro. I’ve never been one to focus on drums when it comes to black metal, but Zuccaro is a fucking beast, frequently injecting Hellhammer-level progressiveness (‘Bellum’), and also an almost jazz feeling when needed (‘Fames’), both sounding natural and effortless. Approaching doom in tempo at times, ‘Fames’ builds slow, steady, a more cinematic, theatrical KHOLD, Hreidmarr’s haranguing issuing damnation from an ashen throat.
At its core, Egregore is the next step for BA’A. An expansion from what came before with an eye and ear to what’s coming next. I, for one, will be watching and listening.
Review By: Lord Randall
BA’A
Egregore
Osmose Productions
4.5 / 6