#RegardeLesHommesTomber #RLHT
07/04/2026

https://www.purgatoire.fr/merch/m-384_regarde-les-hommes-tomber

#RegardeLesHommesTomber
05/04/2025

https://www.purgatoire.fr/merch/merch-384_regarde-les-hommes-tomber

Zéro Absolu – La Saignée Review

By Thus Spoke

La Saignée is Zéro Absolu’s debut, but the members already have a storied past. Not only comprised of notable black metal artists—from Alcest, and Regarde Les Hommes Tomber—Zéro Absolu is itself a reinvention. After their original name—Glaciation—was stolen and illegally registered as IP by a bitter temporary band member, they had no choice but to evolve. In concept, La Saignée defends the band’s integrity, and that of the wider (black) metal scene against the poisonous ideas that tear it down, its lyrics described by the members as “confronting [both of their] enemies.” It partially explains the odd cover art, which is not an AI abomination, as it might at first appear, but a photograph taken in the aftermath of the fire that devastated Noeseblod (formerly Helvete) Records in Olso last April. Zéro Absolu are here to make a statement, and the way they choose to deliver it in La Saignée says a lot.

Zéro Absolu’s black metal proper is distinctively French, with deep and exuberant guitar tones, gravelly vocals, and a vague sense of nostalgia hovering about its refrains. There is more than a hint of Glaciation, of course, as well as Abduction, Seth, and countless others. Yet, now more than in the band’s previous incarnation, the admixtures of styles from those who comprise it are given freer reign. Gazey Alcestian plucking and serene vocalisations, and dark post-black turns from the playbook of Regarde les Hommes Tomber play a larger role amidst the frosty second-wave tremolo and drum. La Saignée moves between its aspects as mood takes it, unspooling the manifesto that Zéro Absolu have created. This is where the album’s structure plays a crucial role, for La Saignée consists of only two songs. The first, title track—an epic of over twenty minutes—feels like the raison d’être for this record and for Zéro Absolu themselves, rising and falling anthemically. The second, “Le Temps Détruit Tout,”—comparatively short at 13 minutes and change—is more reflective and solemn overall, though not without its own blackened surges of ardour. This duality more or less completely dissolves La Saignée into one piece, making it more stirring and immersive, and thus serving as the apt instantiation of Zéro Absolu’s declarative (re-)entrance.

By marrying an evocative black metal core with the threads of post-black at their disposal, Zéro Absolu create something powerful. Dispossessed of a lyric sheet, my French is too poor to parse the words—from both vocals and the static-blurred samples that surface across the runtime.1 Zéro Absolu’s execution, however, leaves little room to doubt their sincerity. The howls and screams which cry out these verses in unison burn with fierceness. The sweeping rise and fall of melancholic refrains—just as much as their incremental, understated derivations— carry tides of emotion in blazing tremolos just as much as the latter drip it in subtly with resonant plucks. La Saignée repeatedly peaks between emphatic intensity and the musings of ambience, and this dynamism feels real to the process of delivering an impassioned disquisition. Yet the other face of the record, which is less straightforward, shows the far-reaching, introspected core. Not only the atmosphere garnered by the stripped-back mellifluousness of gaze, but also the time given over to more abstract soundscapes as the chiming, sometimes eerie synths, lend La Saignée further layers of intrigue, depth, and feeling. It culminates in a rich, emotionally nuanced, and flowing experience that makes you forget, at times, what exactly you’re listening to,2 and not care because it is that immersive.

None of the above is to say that La Saignée is mind-blowingly unique, or beyond devastatingly affecting. But this is partly due to how high the bar already is for modern French black metal, not to mention that set by Zéro Absolu themself, in their previous form as Glaciation. Putting that to one side, I’ll concede that the structure, ideal as it is for immersion and intensity, somewhat runs against memorability, and in a related sense, immediacy. It takes some patience, and more than a few listens, to really appreciate the magnificence of La Saignée, and while you’ll certainly enjoy each of those listens very much (if you’re inclined towards this genre at all), it lacks some supererogatory obvious excellence that demands your respect instantly. This could also mean that mileage will vary between listeners, though I do believe that with time, all will trend towards the favourable.

As a means by which the musicians of Zéro Absolu return to the black metal scene, La Saignée is a powerful choice. In its free-flowing, dual-partite structure, they are reborn and make an emotionally affecting, honest-feeling, and wonderfully executed statement. This is surely just the first step in a new and vibrant career for the band, and what a first step it is.

Rating: Very Good
DR: 6 | Format Reviewed: 320 kbps mp3
Label: AOP Records
Website: Bandcamp
Releases Worldwide: January 31st, 2025

#2025 #35 #Alcest #AOPRecords #BlackMetal #FrenchBlackMetal #FrenchMetal #Glaciation #Jan25 #LaSaignée #MelodicBlackMetal #PostBlackMetal #RegardeLesHommesTomber #Review #Reviews #Seth #ZéroAbsolu

Just in time for #BlackMetalMonday by @HailsandAles:

#TheGreatOldOnes: Under the Sign of Koth

https://song.link/nfmmtpxf5kdfg

#AtmosphericBlackMetal #PostBlackMetal

FFO #Akhlys #RegardeLesHommesTomber #Ultha

les voix : non mais on va pas écouter Darkher on va pas entretenir le doom non plus ça suffit !
moi : ok, dans ce cas va pour Regarde les hommes tomber
voix : en quoi c'est mieux è_é ???
moi : au moins ça crie, ça prouve que c'est vivant
voix : ...

(coucou de la boucle délirante)

https://www.youtube.com/watch?v=7EJQDCBEOM0

#RegardeLesHommesTomber #RadioPouet

Sacrificial Vein – Black Terror Genesis Review

By Thus Spoke

There’s that strain of black metal, straddling if not disregarding boundaries between atmospheric, post, melodic, dissonant, and second-wave, where the music, true to its occupying the less-mainstream corners of the genre, sits like a shadowy presence in peripheral vision—preoccupying itself not with Lovecraftian horrors, or overt, antagonistic portrayals of Satanism, but with terrors less far-fetched and obscure. An occultism of an introspective, existential bent, premised on the human mind. Sacrificial Vein, comprised of fragmented members of Nothingness, Aegaeon, and a mysterious JU, follow this dark trajectory. Their style, borrowing heavily from these wonky, frightening realms of black metal, culminates in an album that crept silently up behind me, grabbed me by the throat, and dragged me into a fiery abyss. That’s a good thing, by the way.

For the avoidance of doubt, Black Terror Genesis sounds nothing like Nothingness, or Aegaeon. Its drawling, cruel chords and creeping malignancy have far more in common with early Deathspell Omega, and its voids of presence, and weirdly wise-feeling solemnity take a page from Schammasch. At times, it veers into Dodecahedron territory with frightening, claustrophobic layers of fury and mania, but always stays on the right side of overwhelming. Much of it is quite beautiful. But, as with all extreme music, this beauty is paid for with harrowing, and confrontational assault. Eerie at its most calm and inexorable at its most urgent, across the three-quarters of an hour you spend with Black Terror Genesis, you are liable to forget everything else.

Key to the album’s power is how Sacrificial Vein weaves frenetic madness into deeply atmospheric profundity. While clustered, anxious riffery and impossibly accelerating percussion cause tension to spike wildly (“The Blood of the Wicked Shall Entomb the Earth,” “Throne of Perversion,” “Wombs of Depravation”), spacious, echoing melodiousness softens the edges, and calms without losing the sense of anticipation (“The Blood…,” “Apparition,” “Abjection”). Horror is injected not only through dissonance, but with vocals that lurch into deranged laughter (“The Blood…,” “Throne of Perversion,” “Wombs of Depravation”) and heave to ragged, unhinged wails (“Throne…,” “Rites of Malignancy,” “The Unbearable Stench of Malediction”). At the same time, tracks like “Throne of Perversion,” and in particular album highlight “Cruciatum Aeternam” are violently compelling through a balanced building of drama, horror, and ecstasy, mournful catharses breaking out of bleak brutality. And the seamless way that tracks tend to spill into one another—a spidery guitar riff transitioning into a blastbeat-led frenzy (“The Blood…”/”Throne of Perversion”); a continued rumbling chord (“Throne of Perversion”/”Rites of Malignancy”); a crescendo of heavy synth (“Wombs of Depravation”/”Nil”)—makes it all that much more immersive.

It can’t be overstated how viscerally frightening Black Terror Genesis can be, and how thrilling the releases of melodious emotion are when they come (“Throne…,” “The Unbearable…,” “Cruciatum Aeternam”). For this reason, it is incredibly frustrating that the music is as compressed as it is. With a DR of 4, there’s simply not enough room for the abyssal lows and anxiety-inducing highs to have the intense impact they ought to. It is a testament to the mad genius of the compositions that I do nonetheless feel afraid, exhilarated, and possessed when I listen. But when the ominous layered chants and screams (“Rites of Malignancy”) or sinister tremolos (“The Unbearable…,” “Abjection”) are pushed too far back, I can’t help imagining what could have been. This is why the interludes “Apparation,” with it’s horrifying laughter and menacing synth; “Abjection,” the mournful, breathless denouement to “Cruciatum Aeternam”; and “Nil,” the disturbing swansong of the record, hit as hard as they do. Far from being shoehorned in, their comparatively empty spaces feel like natural pauses in the macabre ritual, and their atmospheric depths lend themselves well to abyss-gazing.

Since first laying my hands on Black Terror Genesis, I’ve hardly been able to turn it off. Sacraficial Vein seem to have found that magical recipe for immersive, inexorable, intoxicating black metal that’s as beautiful as it is horrifying. I hope these guys get their production sorted out for the next one, because if they do, it’s going to be incredible. For now, they’ve made an impressive, visceral impact that I’m continually drawn back to like a moth to a dark, sinister flame.

Rating: Great!
DR: 4 | Format Reviewed: WAV
Label: Total Dissonance Worship
Websites: Bandcamp | Instagram
Releases Worldwide: March 15th, 2024

#2024 #40 #AmericanMetal #AtmosphericBlackMetal #BlackMetal #BlackTerrorGenesis #DeathspellOmega #DissonantBlackMetal #Dodecahedron #ExperimentalBlackMetal #Mar24 #RegardeLesHommesTomber #Review #Reviews #SacrificialVein #Schammasch #TotalDissonanceWorship

But first, the commonalities. #RegardeLesHommesTomber is a band one must keep under the radar! What a show!

@AmsterdamMetalScene

#samhain #maastricht #MetalheadConcerts

#nowPlaying

Regarde les Hommes Tomber - Ascension

https://youtu.be/Quq794LuxEU

#BlackMetal #RegardeLesHommesTomber #Ascension