ALBUM REVIEW: Hypogeum – The Oracle

In spite of what purists might insist, black metal has always allied itself closely with electronic and synthesised music. As far back as 1987, MAYHEM took the opening piece for their Deathcrush EP from Conrad Schnitzler (founding member of TANGERINE DREAM). For the most part it features as intros and interludes, or as an affordable substitute for a choir and orchestra – think Anthems To The Welkin At Dusk, Hvis Lyset Tar Oss, Enthrone Darkness Triumphant, etc. – but some black metal artists have turned their hand to purely electronic side-projects; Mortiis, for instance, or Fenriz’ NEPTUNE TOWERS. The on-going dialogue between black metal’s characteristic aesthetic and electronic instrumentation usually takes the form of dungeon synth, and it’s within this lineage that THE ORACLE manifests itself.

Pitched as an “avant electronics project” inspired by “the grandiosity of film scores and classical music, the bleakness of black metal, and minimalist ambient music,” Hypogeum is the first full-length release from THE ORACLE, following a number of singles and EPs.

The album takes its name from the Hypogeum Ħal Saflieni in Malta – believed to be the oldest underground temple in existence, and prized for its paranormal associations and unique acoustic qualities – while the album itself is said to explore the “rise, betrayal, and ultimate fall of messiah-like figures and cult leaders”. While dungeon synth would be Hypogeum’s most general descriptor, THE ORACLE elevates this style beyond the run-of-the-mill lo-fi synthesiser experimentation conducted by back metal artists. The sheer number and variety of instruments guarantees this. Synthetic sounds dominate, but analogue tones are deployed as their complement: piano, lap steel guitar and drums can be heard in amongst the plethora of waveforms. The result is a multifaceted and carefully layered soundscape, unfolding in chapters. The album has a complete video companion piece which subtly reinforces the album’s themes and movements, but could have been improved immeasurably if the corpsepaint had been left at home.

At points Hypogeum gestures towards the sublime minimalism of COIL, but for the most part tends towards melodrama. THE ORACLE demonstrates practised restraint in keeping the soundstage empty enough to allow musical ideas to be heard clearly, creating some distinct moments within movements, but too rarely musters the sort of intensity we might have expected. Akeldama comes closest in this regard, but casts a long shadow over the second half of the album. Having cultivated so much tension and foreboding, there’s nothing especially climactic about closing movement Bethlehem A.D.: ceremonies and rituals of all kinds benefit from this kind of narrative arc, and Hypogeum is no exception. In lieu of a definitive conclusion, the album leaves the listener wondering what it was they just experienced.

As a soundtrack, Hypogeum excels: carefully measuring out its rich instrumentation, sustaining tension, and building atmosphere. To accuse the album of failing to excite misses the point – this is an ambient work after all – but more could have been done to cash out on the anticipation which it develops. On paper the album has some interesting themes and ideas, but one wonders if they are really delivered in this medium. THE ORACLE has created an interesting and technically accomplished piece of esoterica, but Hypogeum lacks the poignancy it promises.

Rating: 7/10

Hypogeum is out now via Repose Records.

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