ALBUM REVIEW: Noa’s D’ark – Soulburn

HAIL OF BULLETS. GRAND SUPREME BLOOD COURT. SEIGE OF POWER. THRONE. BEAST OF REVELATION. All bands that are offshoots from the legendary Dutch death/doom pioneers ASPHYX. But none have strayed quite so far from their low and slow roots as SOULBURN. Sure, those doom and death metal foundations are still present, but more of a subtle addition rather than the main wrecking ball of their sound. These days, Eric Daniels has taken his writing in a far more blackened direction, taking influence from BATHORY and VENOM rather than BOLT THROWER and OBITUARY. This has never been more evident for SOULBURN than now, with their brand new album Noa’s D’ark.

The Morgue of Hope kicks off Noa’s D’ark in crushing fashion. Opening with a landscape-flattening example of doomy riffing, there is a sinister, apocalyptic atmosphere right from the off. In the greater context of the album, this introduction feels somewhat symbolic – one of the few straight-up death/doom passages to be found on the record, starting here feels like a nod to the roots of SOULBURN before the band venture into black-n-roll-meets-blackened-death-metal territory. The Morgue of Hope is more than a symbolic opening, though – as a stand-alone track SOULBURN delivered a rager, starting things off with one of the album’s strongest moments.

Black n’ roll may seem like an odd term to use in relation to SOULBURN, but it fits nicely. Within the like’s of pseudo-title track Noah’s Dark, Shrines of Apathy and Annointed – Blessed – and Born for Burning, the doomy elements lend themselves more to a stoner, hard rock swagger within the blackened realms of sonic abuse, rather than the blackened doom stylings of, say, WOODS OF YPRES or early KATATONIA. This lends itself very well to complimenting the atmospheric, BATHORY-esque side of the band, enhancing that raw, old-school style.

As much as Daniels has outdone himself from a composing standpoint, execution wise it is front man Twan van Geel that steals the show. His bass is placed perfectly in the mix, adding to that murky atmosphere, but it’s his vocal performance that really stands out. His range across Noa’s D’ark is outstanding, seamlessly swinging from brutalising gutturals and blackened rasps to haunting shrieks, even utilising clean vocals at several points across the record to great effect – Assailed By Cosmic Lightening and The Godless I are particular stand-outs and album highlights.

Its clear, though, that SOULBURN really shine when they give themselves room to breathe. Alongside The Morgue of Hope and The Godless I, Tempter ov the White Light and closing monolith From Archaeon into Oblivion are two of the longer tracks on offer here, and prove to be real gems. Tempter ov the White Light leans very hard into the black n’ roll side of SOULBURN, channelling an Age of Nero-era SATYRICON vibe – particularly in the chorus – while lead single From Archaeon into Oblivion is just a beast. A wonderful example of extreme metal performed at its best, the closing track is a guaranteed future staple in SOULBURN‘s live set – when live music exists again.

This is far and away the strongest effort SOULBURN have put to tape thus far. The vocal performance from van Geel is a career best, Daniels‘ riffing and melodic work sees the strongest link to atmospheric, grandiose BATHORY-worship and drummer Marc Verhaar has slotted in behind the kit seamlessly. Noa’s D’ark sees SOULBURN finally reach their full potential, and proves to be an exciting promise for the future of European extreme metal.

Rating: 8/10

Noa’s D’ark is out now via Century Media Records. 

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