In Slaughter Natives – Cannula Coma Legio

I was fifteen when a friend played to me In Slaughter Natives’ second album, Enter Now The World. It was a revelation. I had never before heard something so powerfully atmospheric, so terrifying, and that spoke to me so much. Without Enter Now the World there would be no Hands of Ruin.

So a new In Slaughter Natives album is a big event here, particularly since they come along so rarely.

Cannula Coma Legio is apparently an appetiser for a forthcoming album, scheduled to appear in late 2014. It contains a mixture of new material and reworkings of older tracks. Several of these tracks were created for Chérie Roi’s fetish performances and there are some rather beautiful bondage photos on the CD sleeve.

in_slaughter_natives-cannula_coma_legioThe first three tracks are new, as far as I know. The album begins with Plague Walk My Earth. Slow martial snares build to heavier pounding percussion, while bells, orchestral sounds and manipulated opera samples create an oppressive atmosphere. Jouni Havukainen’s malevolent whispers are also buried in the mix. Definition of Being Alive contains a more mechanical rhythm, distorted vocals, and layers of noise over a simple two-note bassline, and Silent Cold Body alternates between pounding drums and the sounds of a nightmarish musical box.

The next track, Venereal Comatosem / Closed My Eyes, revisits a couple of tracks from Resurrection. It begins with a reworking of the ambient track Your Breed, and then goes into a new version of the The Vulture. This is a very nice reworking, taking the harpsichord melody from The Vulture and developing it further with additional percussion, vocals and piano. It makes me very happy to hear this sort of reworking which takes an earlier idea and fleshes it out with something new.

The next two tracks are also new. Left Arm Right Arm As My Path is a droning ambient track, with organs, a church choir, and the voice of a preacher all mixed together into a dense soup of sound. Then Gaudium et alia vita mixes dense ambient drones with some thumping drums and some rhythmic bashing on a prepared piano.

Ignis et scalpello / Angel Meat resurrects material from a very long time ago. Angel Meat originally appeared on Enter Now The World back in 1992. Ignis et scalpello provides an ambient introduction, before going into the reworked version of Angel Meat. The reworking is very slight, however. A few sounds have been laid on top of an earlier recording. This is somewhat problematic, since Angel Meat was recorded over 20 years ago, and while the production on Enter Now The World was superb, particularly considering when it was made, the types of sounds that In Slaughter Natives was using back then are very different to the sounds he uses now. This means that the sound just doesn’t fit together very well with the rest of the album. He’s added some extra percussion to the track, which goes some way to smoothing over the differences, but it’s not a complete success. All of which is a great pity, because Angel Meat is a superb track — one of his best — and a full reconstruction with Havukainen’s present, formidable production skills would be a wonderful thing to hear.

The album ends with another ambient track, Three Three Three. This lightens the mood a little with some more angelic choirs, before pounding again with some martial rhythms.

The new tracks on this album stick more to dark ambient territory than most of his previous work. Though there are martial rhythms emerging from the noise, these rarely build to full tunes. The sound design is superb. The ambiences are dense, with many layers of sound from many different sources: metallic screeches, speech, choirs, bells, rumbling drones, et cetera, et cetera, all combining to create a heavy, oppressive atmosphere. Everything sounds crisp and detailed. There are very few musicians who can create ambient soundscapes so convincingly hellish.

The lack of structure and melody, though, is the Achilles’ heel of this album. There’s nothing wrong with ambient atmospheres, and this is very fine dark ambient music, but I find it more powerful and more impressive when music contains some structure. If this were the work of anyone else then I would be satisfied with what it is, but Havukainen has created works of such magnificence that to see him making an album that falls so far short of his potential is very sad. Enter Now the World was filled with exotic grandeur, Purgate My Stain was powerfully malevolent, and this… merely meanders. Apart from the reworkings of old material, the strongest track on here is the first, but even there the melody feels simplistic. And the inclusion of Angel Meat is a reminder of how much is missing from his recent work.

If this were the only album In Slaughter Natives had made then I would love it. But this is not at the level of brilliance of Enter Now the World or even Purgate My Stain, and the curse of making something incredible is that people then expect you to do it again.

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