When it comes to the “dissonant”, avant-coded side of black metal, there are two problems a new act can run into. Venture too far outside of the established mold of the genre and you become an incomprehensible outsider to both the most dedicated to the weird; play things too comfortably, and you end up as yet another post-Krallice/Deathspell Omega act trying to “out-dissonance” your peers. Encasement have effectively avoided either dilemma on their self-titled debut album. Combining a ferocious assault on the senses with a more mannered version of the experimental, the Canadian solo act have crafted an album that is as digestible as it is thought-provoking.

Encasement is a black metal album, no doubt about it. Walls of chords, blast beats galore, an eerie energy that is a far cry from the Scandinavian ’90s, but more akin to the dark discord conjured by Yellow Eyes or many bands out of Iceland since the early 2010s (and their own sonic descendants). But upon closer examination, there’s a large prog metal undercurrent at play. Not your standard 21st century classics (Opeth, Mastodon, BTBAM, etc.), but something far more polymetric and, dare I say it, djent-y. This would normally be an instant turn-off as someone who came of age listening to Veil of Maya, Intervals, Within the Ruins, and more — and turned against these sounds entirely once the spirit of black metal fully took hold — but Encasement mastermind James Thompson incorporates these elements onto a blackened superstructure pretty damn well. It wasn’t until reaching “The Pillory” about halfway through the album that this became more apparent. The jagged, angular riffage alternating between low chugs and trebly squeals (assuredly utilizing extended range guitars) seemed to call back to Vildhjarta and their signature “thall” sound of 15 years ago.

If the “djent” influence on Encasement seems like a major factor, fear not! I would not have much praise for the album if this was a primary component; but once the connection is made, it’s nigh-impossible to unmake it. 10-minute “Apparitions” is the first major taste of the act’s syncopated, prog-inspired nature, but pairing such rhythmic exercises that would normally bore with tremolo-picked arpeggios is a nice touch that aids in holding onto the black metal roots. On tracks such as “Exodus” and closer “Fragmentation” Thompson instead focuses on more muted, extended sections of dissonant chord musings — interspersed with alternating blast beats and syncopated rhythms, of course — that could more accurately recall some of what Gorguts was cooking in the less intense moments of Colored Sands.

Whatever you might call it yourself; progressive black metal, dissoblack with djent characteristics, etc., Encasement have put together an enthralling listen here. Taking inspiration from some unlikely places and placing them onto a black metal framework without overindulgence or sacrificing the essence of the genre in the process, it’s a release that will appeal to intrepid followers of the black arts (and maybe snag a few others on the way).

— Colin

---

Encasement will be available September 4 through I, Voidhanger Records (CD) and Hypaethral Records (LP). For more information on Encasement, check out their Instagram page.