Onward from Golgotha
Let it be known that I have no problem with drawing heavy influence particular style of a band or album. Provided no direct plagiarism takes place, some sort of spin is put on it and the newer band can pull off that sound convincingly, there isn’t really a problem there. What I can’t forgive is when a band goes out of their way to copy something they plainly don’t understand or aren’t very good at, and that’s exactly what’s going on with Encoffination’s work. There’s no reason to listen to this band’s work at all – not because they produce inferior facsimiles of a classic sound but because they miss the point of that sound entirely and end up making music with not much going for it at all.
On the off chance you haven’t worked it out from the band’s name and logo or indeed from the title of this review, Encoffination play Incantation-worshipping death metal, specifically zeroing in on Onward to Golgotha, as they try to recreate the cavernous sound of that album here. As I’ve mentioned however, they’ve rather missed the point of what made Onward to Golgotha such an immense, planet-sized album. The ridiculously massive and slightly degraded production that album has is part of what makes it special. While Encoffination clearly realised this, having achieved a guitar tone that approaches Monotheist or Realm of Chaos in its sheer heaviness, the overall sound of the album doesn’t stand up in the same way. The guitar tone and drums are too clean and polished to bleed together into a wall of sound as they did on Onward to Golgotha, and as a result while this album is undeniably extremely heavy the sound doesn’t have quite the same impact as the Incantation album. In the grand scheme of things however this is the least of this album’s problems.
Where the band completely fall down is that they get far too carried away with crafting an atmosphere and aesthetic. Onward to Golgotha had loads of giant riffs to go with its giant production, while on here the guitar work is extremely bland. The guitar parts on this release are written to serve the atmosphere as opposed to being written to drive the songs and create an atmosphere through the progression of a song. The consequences of this are what kill the album: the songs are virtually motionless in the way they are written, with songs ending right where they started. They’re specifically trying to recreate one aspect of Incantation’s debut: namely it’s slowest, most crushing moments, and they achieve this by playing very slowly. As a result there are virtually no changes of pace, climaxes or twists in the songwriting as there would be with Incantation; all the band do here is play slow, ringing/droning guitar parts and very bland riffs that never grab the listener’s attention, all in the pursuit of heaviness at the expense of everything else. The drummer plays equally slow and dull beats with very little change to speak of, and the vocalist sort of sits there in the middle of the music, not impacting the motion or intensity of the songs at all. His growls are nowhere near as deep or powerful as Craig Pillard’s performances with Incantation, sounding much more like a run of the mill death metal vocalist, one that can’t even match the heaviness of the songs.
The music gets very boring very quickly and after about 45 seconds or so you’d wish they would do something more with the music, but it never comes to pass. The sheer unexcitement of the music kills any atmosphere they go for as the listener’s mind will start wandering shortly after the first song starts because there’s nothing engaging to focus on while listening. This is totally pointless music: it’s Onward to Golgotha worship that misses the point of Onward to Golgotha. It’s atmospheric death metal with virtually no atmosphere. It’s death metal with no intensity to it. It’s metal with no good riffs.