In their fourth-stage heightening of the senses that would detect the unseen, unspoken and unheard-of forces which power the universe beyond comprehension Athens, Greece-based avant-garde black metal quartet HERETIC CULT REDEEMER envision the void-womb via negativa, a deduction which envelops the whole of their impressive fourth full-length album. Presented in brightly lit, immediate space yet given to surrealistic conjuration of null ‘In Oculum Chaos‘ successfully reaches for thunderous dissonance and clangorous rhythmic entrenchment within this brazen, boldly delivered avant-garde black metal assail. Though their methods and immense rhythmic instrumentality should rightfully dominate the conversation here layers of expressive performance, meaningful spiritual sojourn and sharp design all factor into the brilliancy of this new standard set.

Heretic Cult Redeemer were founded circa 2009 to realize a vision from psychic architect Funus shared between folks involved in Acrimonious, Embrace of Thorns and numerous other well-respected acts. All works from the band thus far tap into spiritual focus for directive, intending creation unperturbed by strictures but directly informed by strongly held beliefs. Of course their own tastes factor in as well, ranging from classic black metal standards, interest in progressive music, and modern day ideals set forth by groups like Deathspell Omega and Ascension. You’ll hear a bit of everything informing their avant-garde, sometimes prog-metal minded discography much of which I’d written about in detail per their third LP (‘Flagellum Universalis‘, 2023). Consider that album the third exponent of their idyll with the incredible rhythmic machinery of their performances creating beautifully varied and impassioned black metal musings throughout (re: “Grave Sophia-Breath of the Nightside“). You’ll recall I’d fawned over its virtues and personage in review at the time. Eerily tuneful, spacious in resound, and grand in its total message that third album’d taken me back to the peak fixation and flourish of orthodox black metal in kind. In approach of album number four the least I’d expected was no lesser craft.

Though we could draw some parallels or at least moderate continuity between ‘Kelevsma‘ (2018) and the tongue-darting slither of ‘Flagellum Universalis‘ each release from Heretic Cult Redeemer notably intends singularity, recreating a similar sense of atmosphere rather than latching onto one specific sonic identity otherwise. That is to say that you will recognize Funus‘ exceptionally expressive vocals and the taut rhythmic bent of the band on ‘In Oculum Chaos‘ alongside their greater philosophy upheld but no sentimental link or recreation of past works. That that their work intends to be transformative, malleably applied to suit spiritual purpose reflects the freely given guidance of Lucifer in action, a meaningful path to singularity, the ultimate self built rather than piled high.

‘In Oculum Chaos‘ takes a bold step in two directions: First as an outsized and bold descendent of ‘Written in Waters‘ per its bounding and bopping treatment of avant-garde metal with respect for classicist black metal abstraction, albeit guided by timbre and techniques generations beyond that starting point. Secondly Heretic Cult Redeemer have pulled into crisp, immediate and bludgeoning production values (production/mix by Nikos Trialonis @ Mad Hat Music, mastering by Simón Da Silva @ The Empty Hall Studio) which leave no detail buried and no thought afloat as their previously championed rhythmic hand is now given massive obsidian gravitas. Surreal dissonance, psychedelia curled licks and roaring advance make for an imposing and immediate battery as opener “I Saw the Void” declares itself amidst the amazing contortions of Funus as he retches and wrenches within his expression here and throughout this demanding album for that matter.

The first three pieces generally read as a block, immediate proof of depth and tensile design which defines what ‘In Oculum Chaos‘ is in the context of Heretic Cult Redeemer‘s discography. Veering tremolo-picked surges, blasts echoing through hanging dissonant spasm and expression akin to throat singing lend texture to tumultuous advance as huge basslines direct and dominate passage through “Death’s Black Shadow” and standout “Miracle of the Fallen”. Whereas in the past these sorts of pieces might’ve been buried within cryptic reverb or chopped into several repetitious movements in approach of this sound the band’s vision defies an expected route with animalistic trampling gait, carrying only the surest grip down their labyrinthine path. Beyond the technical flair and brightly polished black sheen of their work there is a sense of revelry given to these highly technical, toppling-forth rhythms.

The middle arc of ‘In Oculum Chaos‘ carried from “The Wondrous Strand of Time” through “To Rust, We Glorify” can be viewed in descent, beginning with a declarative hammering-down, a dizzying stretch into intoxicatingly wound summon and the no less staggering tarantella unto revelation which follows. Though we’ve heard a lot of creative placement and noxious weave from Funus‘ vocal performances the full gamut really unleashes here not only in layers but throat-shredding ouevre. There the spiritual-ritualized practice of the listening experience best comes across alongside the avant-garde beaten movement which equally defines the experience. This is potentially the most ear scouring and demanding portion of the full listen in extension of what the first three pieces introduced.

Though plenty enough breathing room is afforded by interstitial pieces along the way (re: “Carnyx”, “Exodus”) the final chapter on offer, “An Atavistic Perfusion of the Cosmic Womb”, offers the most wide open space within the first several minutes of its introduction. Set somewhere precariously in between ‘The Black Flux‘ and ‘Drought‘ this nine and a half minute closing piece adds a great deal of dimension to the full listen, the same current accessed but a humming and wailing vortex towards this particular endpoint. Though the distance Heretic Cult Redeemer collectively span within ‘In Oculum Chaos‘ didn’t initially appear vast within detail focused listening I’d found it was all the more a trip when appreciated for its rhythmic sojourn and well-spaced bouts of intensity.

In all of my time with ‘In Oculum Chaos‘ there wasn’t a moment where I wasn’t enthralled by the loud and lucid render afforded it, not only for the sake of the quartet’s intricate rhythmic command but for the overwhelming presence its sonic lustre saddles the listener with. This sort of approach wouldn’t work for the average black metal band but here it only serves to show the fine machinery of their craft, highlighting how and where Heretic Cult Redeemer stand above the status quo. This’d nearly outshined the purposeful search of the material itself, so, anyone looking to extend the life of this experience would do well to explore the lyrics in tandem as every part of their work is not only thoughtfully realized but meaningful in glom. All parts and pieces considered this work should prove a new high point, a fresh standard within the band’s escalating achievements thus far. A high recommendation.

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