Tod Huetet Uebel is a band from Portugal, formed in 2012. Having released an EP in 2013 called Morte e Caos (meaning ‘Chaos and Death’), they released in 2015 their first full-length called Malícia (meaning Malice). This duo certainly delivered an impressive act of black metal on their latest title.
Have you ever noticed that thin line that separates the lyrics of a song from a poem? The lyrics are often reminiscent of good poetry, the kind of poetry that speaks to us and guides us towards the concept. Saying that this level of proximity happens only in “a band with good extreme music” is simplistic, because although the music is really good and really extreme, it also carries us to other levels of expression and – which is something I have not seen much in music lately – to good levels of writing. The lyrics/poems are bilingual (English/Portuguese), which means that Portuguese speakers are privileged with firsthand knowledge of the language, being able to understand or rather perceive the web of meaning transmitted by the band, assuming that they are also familiar with English, for full enjoyment. In addition to the roles of writers and musicians we see a complete set of artists behind the black layer, misanthropy and heaviness which are so evident in their style. Hearing the words and letting ourselves be guided by the sound becomes a remarkable experience when we listen to Tod Huetet Uebel. The sounds, by intertwining themselves with the words, carry us, through more direct routes, to the personal concepts shown in their writing. The work can live without all the elements that constitute it, so Tod Huetet Uebel can be enjoyed as a whole or in parts, if we wish, and that's a rare achievement. Musically, we notice a great evolution of their style from the first demo, which explores more traditional aspects of black metal. In Malícia, things were taken to another level, and textures are denser – the bar has risen and abstraction followed, black metal sounding smarter than most. Not to say that Malícia is hermetical, I would rather put it on par with acts as Mgła, for lyrical content and oppressive environment; as Leviathan, because of its way of exorcising demons using identical musical textures. From the cohesive set of themes, I highlight “XIII”, due to the endless grief that the sound brutality could not erase; “XII”, with its jerky cries which make us shiver, which trouble and disturb us; and “III” for the obvious musicianship. The album artwork is a piece of art in itself, making us aware of the different dimensions which got together to make up the final result. I advise you to hear and feel Malícia, and to follow this Portuguese band. I have no doubt that the future releases will be surprising.
Notes:
Release date: Malícia was first released on June 6 2015 on Possession Production. A second iteration of Malícia was released on 10th November 2015 in digi-CD format with double panel by Caverna Abismal Records. The digital album can be purchased through the Bandcamp player below at your price.
Tracklist:
1 XIII
2 I
3 XII
4 XX VIII XXI
5 IX
6 III
7 V
Personnel:
Daniel C.: Music
Marcos M.: Vocals
Text by Vetrarnótt
Have you ever noticed that thin line that separates the lyrics of a song from a poem? The lyrics are often reminiscent of good poetry, the kind of poetry that speaks to us and guides us towards the concept. Saying that this level of proximity happens only in “a band with good extreme music” is simplistic, because although the music is really good and really extreme, it also carries us to other levels of expression and – which is something I have not seen much in music lately – to good levels of writing. The lyrics/poems are bilingual (English/Portuguese), which means that Portuguese speakers are privileged with firsthand knowledge of the language, being able to understand or rather perceive the web of meaning transmitted by the band, assuming that they are also familiar with English, for full enjoyment. In addition to the roles of writers and musicians we see a complete set of artists behind the black layer, misanthropy and heaviness which are so evident in their style. Hearing the words and letting ourselves be guided by the sound becomes a remarkable experience when we listen to Tod Huetet Uebel. The sounds, by intertwining themselves with the words, carry us, through more direct routes, to the personal concepts shown in their writing. The work can live without all the elements that constitute it, so Tod Huetet Uebel can be enjoyed as a whole or in parts, if we wish, and that's a rare achievement. Musically, we notice a great evolution of their style from the first demo, which explores more traditional aspects of black metal. In Malícia, things were taken to another level, and textures are denser – the bar has risen and abstraction followed, black metal sounding smarter than most. Not to say that Malícia is hermetical, I would rather put it on par with acts as Mgła, for lyrical content and oppressive environment; as Leviathan, because of its way of exorcising demons using identical musical textures. From the cohesive set of themes, I highlight “XIII”, due to the endless grief that the sound brutality could not erase; “XII”, with its jerky cries which make us shiver, which trouble and disturb us; and “III” for the obvious musicianship. The album artwork is a piece of art in itself, making us aware of the different dimensions which got together to make up the final result. I advise you to hear and feel Malícia, and to follow this Portuguese band. I have no doubt that the future releases will be surprising.
Notes:
Release date: Malícia was first released on June 6 2015 on Possession Production. A second iteration of Malícia was released on 10th November 2015 in digi-CD format with double panel by Caverna Abismal Records. The digital album can be purchased through the Bandcamp player below at your price.
Tracklist:
1 XIII
2 I
3 XII
4 XX VIII XXI
5 IX
6 III
7 V
Personnel:
Daniel C.: Music
Marcos M.: Vocals
Text by Vetrarnótt