Hyadningar – Imminent Useless Soul

That ‘Imminent Useless Soul’ isn’t your average Black Metal debut is evident from the outset, when the haunting strings and keys that begin opener ‘Cross Destitution’ give way to the song’s huge, masterful lead riff. This, the French quintet Hyadningar’s first full-length outing, is characterised by a whole series of similar moments; powerful, uplifting, and satisfying somewhere deep in the gut. The band have built on the promise of their earlier work on 2003’s ‘Hymns of a Forgotten Past’ mini-album, and have released something really special.

Hyadningar’s sound relies on classically distorted Black Metal guitars playing moderately technical and melodic riffs, courtesy of members Euronyme and Nehluj. The guitars really lead the songs on this album, and are given a great, prominent sound in the mix. It should also be mentioned that Nehluj joined the band in 2004, and so this is his first release under the Hyadningar flag; as the guitars sound very tight and accomplished, it seems that this new alliance is working very well. Indeed, the band as a whole are superb musicians, and Turannos’s drumming stands way out above the normal standard. In addition, Hyadningar are blessed with Marquis as their vocalist; he can switch effortlessly from a deep, throaty growl to a distinctive, pained-sounding wail or howl. The most marked feature of his performance, as with the other members, is his passion; the vocals on ‘… Of Ashes and Dust’ sound like a cry to the sky, and illustrate how vocals can be used in extreme music to make a fundamental addition to an album’s atmosphere. ‘… Of Ashes and Dust’ is a stand-out track overall, led by a melancholy, stately bass line from Nekurat.

The song structure on ‘Imminent Useless Soul’ is reminiscent of that of the black/death style of Dissection, whom the band cite as an influence. Ringing, often layered guitar leads trace fairly complex melodies with frequent, gutsy tempo changes and some effective break-downs into more chunky riffage. Many of the songs, such as the awesome ‘Cause I’m My Own’, are pleasingly melodic and accessible, and will stay in your head for a long time after listening. Hyadningar use strong, key melodies, which may not be super-sophisticated all of the time, but are played with a ferocious competency, giving the impression of a band at the crest of its prowess, ready to take things even further on future releases. What earns Hyadningar their “epic” title is the space they give their musical ideas to breathe. The title track and ‘Dreaded Infinite Crescendo’ clock in at a weighty 7 minutes each, and even then are not the longest tracks on the album, but are not crammed with notes. Ideas and movements build up slowly, and interweave. An important factor in this sophistication is the use of acoustic guitar; it adds a further, quite gentle and pensive layer to songs such as ‘…Of Ashes and Dust’. Hyadningar make sparing, subtle use of this element, but clearly do not fear it, as the album is divided by a short, acoustic interlude, ‘Allemande’. This touching moment exemplifies both the feeling the band pour into this album and the space which they give the listener in which to digest and appreciate what they have constructed.

In all, this is an album which manages to sound classic but not derivative, due to its personal touches, good production and impressive musicianship. Hyadningar’s passionate and striking style is yet another string the vibrant French scene can add to its bow; hopefully this album will really increase their coverage, so that they can get on the road soon.