From the perspective of a deeply entwined observer the inherent impingement of civil morality is necessarily given to meditative separation, a liberation by projection and withdrawal into singularity for the sake of focus and muse. To widen the lens of insight and purify the spirit of its easily clouded eye Edinburgh, Scotland-based black metal quartet BARSHASKETH secret away to a self-devised panopticon which offers starkly smoking clarity to the seeker, a fortitude gained through the madness of isolation. Their paradigm endures, deranged through an alchemically stripped still-caustic bravado which stabs its many-fanged puncture via this fifth full-length album. ‘Antinomian Asceticism‘ exists as a vessel for mystic violence one’d want from the melodious and mayhemic cut of this name and one that overflows with its findings, managing a balance between all that could be said and only just what is vital to convey to the truly concerted ear.

Barshasketh formed via Krigeist (Bròn, Nadsvest, Kildonan, et al.) circa 2007 finding rhythmic anti-cosmic concoct on an initial solo debut (‘Defying the Bonds of Cosmic Thralldom‘, 2011) and drinking-in further distinction on a second trio-built LP (‘Sitra Achra‘, 2013) as the authorship of their work built from project to band. Beyond that point an expanded line-up and fine art direction set their work in league with troupes of various Finnish, French and Polish inclination, wherein melodicism and orthodox/avant-garde black metal aligned spiritually per ‘Ophidian Henosis‘ (2015), a release which provided a vital point of transgression, a merger of ideals that’d rightfully elevated their efforts and curation. If there is a shortcut available to provide provenance for the impatient mind, I’d say cutting right to that third LP should at least contextualize expectations beyond that point. The pathos accumulated is yet not without its collective, considerable weight.

The defining moment and perhaps a great work in hindsight ‘Barshasketh‘ (2019) is our stepping stone into ‘Antinomian Asceticism‘ for the sake of its riveting melodicism cut in black sheets of icy dread, a high-level and nigh untouchable point of craft during a burst of pre-MMXX volatility and advancement. With several years between that peaking characterization of Barshasketh, which I’d reviewed favorably at the time of release, we find that the highs provided by comparably fine visionaries (Ascension, Mgła, Svartidauði) now stand fewer and farther in the distance, creating a hunger for what potential might be unlocked. A roundabout way to suggest some hype surging around this release would be warranted but without a doubt passing through the last fifteen years of their discography there is some wonderment in musing over the flying leaps the two previous albums’d landed.

From moonlit mirror-lake to the teeth of a thresher in cyclic recombination ‘Antinomian Asceticism‘ brims with mystic parallels to the thought of the peak Euro-philosophe amidst the demented entanglement of late second wave black metal nihil, providing more than a meditation but rather full discourse on their pursuit of forbidden knowledge through references to Husserl, Sanders Pierce, Nietzsche, Molinos et al. with concern for the fineries of reality and observance. Proposed as more concise and carefully directed compared to the overflow of their self-titled double LP this experience is densely set and bears thickly planted compositional rooting which allows all to flow as one great stream of consciousness in three (perceived) acts and a single, two-sided ~44 minute LP. Per many of the same actors and collaborations (Necromorbus Studio in particular) a patiently burning atmospheric smolder characterizes the listening experience here with dark-cornered views, perfectly set drum presence, and an unsettling nausea to all patternation. We set out upon more than the ominous in pursuit of Barshasketh‘s path, carrying a palpable sense of alienation and in our test of forbidden territory we eventually will a deeper internal defiance.

Worlds within a world is the general muse here at face value as we erupt into Scandinavian etched riffcraft and fevered throttle via opener “Radiant Aperture” immediately making good on the suggestion of the second wave fundamentals fueling much of Barshasketh‘s rhythm guitar strokes before hymnal vocal accompaniment (see also: “Charnel Quietism”) pique the mind (a la Funeral Mist, Thy Darkened Shade) into states of acidic respite and empyreal resonance, upward trailing trill-pocked riffs and all. This piece is the tone setting prompt of the album but not the complete overseer as we feel the lower-set weight of the rhythm guitar layers and the strong feature of the drums coalescing and scattering dependent on the irregular step of the piece. The collective throttle and hiss of those introductory moments comes with “Nitimur in Vetitum”, our most direct sup upon black metal riffs of the Samoth-esque scalar movement given to the excesses of 2010’s Nightbringer, which are active to a maniacal degree yet able to contribute directly to the sense of menace-within-the-mist exuded. If there is gimmick or flash, some manner of action meant to grab the listeners attention here it is rooted in an appreciation of the classics to some notable degree.

Though the flow from piece to piece is one of my favorite aspects of ‘Antinomian Asceticism‘, as its efficiency never feels pressed or intentionally brief, it is the rift felt between the endpoint of the apex primacy of “Charnel Quietism” and the the sweetly rotten slowed embrace of “Phaneron Engulf” which starts the second side (I assume as much) and the extended third act available to the full listen. The tension of passage amidst ear-worming, surreal build is expected though the largely instrumental dirge of the latter song is off-putting, almost frenzied in its circuitous nigh chaotic descent. For the final two pieces to truly shine this level of dramatic transition offers necessary separation, a maze for the mind to wheel within before the final act presents its grand closing remarks. Naturally the title track (“Antinomian Asceticism”) delivers upon the Barshasketh black magickry the longtime fan’d want, a slithering and tragedian weave which chants its incantations beside the acrobatic guitar wiles which direct every moment; I’ve not paid much attention to the harsher-rasped style of the vocal work for the sake of it being directive but not the all-speaking orator of the experience. By the end of the full listen the venomous, dissenting voice on offer is well set, never speaking out of turn or interrupting the spectacle of the riff. This is a huge plus per my own taste, at least when it comes time to leave the album on repeat for hours on end.

The dynamic achieved by this album is initially exciting for its guitar driven, sonically rich riff attack (“Nitimur in Vetitum” is immense) again I’d found that the parts that’d ultimately stuck with me during my time with ‘Antinomian Asceticism‘ centered around transitions from action to atmospheric, or, more illustrative movements (“Lebenswelt Below” best showcases this mastery.) This is where we find the step beyond ‘Barshasketh‘ into deeper knowledge, points of flexion which breathe and bend as the whole of the experience coughs its most ingenious musicianship in great bolts and bursts of black metal thunder. Without feeling regressive, incomplete, or limited in any sense it feels as if Barshasketh have found potency, new efficiencies herein which do well to match the challenging thought attached to each piece.

For an album built from within and given the suggestion of secreted-away observance the cracked-open and fuming corporeal shell depicted via the chosen cover artwork (via Rodrigo Pereira Salvatierra) feels appropriately curated to the theme and feeling, even just the title of the album while invoking a temple set scene. This choice is accentuated by innards once again curated (+ additionally illustrated) by longtime collaborator Fenomeno Design who maintains continuity with past works. The end result is more dimensional, colorful and riddled with depth even beyond the symbolism and arcana of past Barshasketh releases and again this is additional testament to a band that endeavors to pull more from themselves with each act and provide a richly realized experience. While I do expect peers in regard to design, dynamic and authorship throughout anno MMXXV ‘Antinomian Asceticism‘ has already set an incredibly high standard for our first steps into the new year and in doing so leaves a suitably threatening acridity in the air. A very high recommendation.

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