The Bell of Leprous
Brazil, on top of the more famous bands like Sepultura, has seen a rise in the number of more underground extreme metal bands in recent years, with bands like Darkest Hate Warfront bearing the flag of Brazilian black metal. Enterro this year releases their second full length album, The Bell of Leprous, further displaying the capabilities of Brazilians in their expression of hatred and violence.
Boasting Kafer from Darkest Hate Warfront (one of the first Brazilian black metal bands that I encountered), Enterro certainly interested me, though having 2 members who play in another band labelled as “countrycore” certainly left me slightly apprehensive. Fortunately, the music on The Bell of Leprous holds itself up, and expect nothing but brutal and aggressive black metal in the veins of bands like Marduk. The guitar riffs are unpolished and raw, and this serves only to add to the authenticity and sincerity of the album. Vocalist Nihil, instead of choosing the typical route of black metal-styled shrieks or growls, utilises a deeper, throatier growl, easily sounding like he could come off a death metal record instead and this certainly adds a nice touch to the overall feel of the music on the album. Bassist Kafer also gets his personal time to shine, with lead bass spots on tracks like Earth and Worms.
The band also displays their numerous influences on the album throughout, and the seasoned listener can easily spot things such as the Norwegian black metal-influenced opening riffs of The Bell of Leprous, and more Swedish styled black metal riffs later in the album. On songs like Arguments for Ignorants, there is even a slow moment on the album, with guitar riffs that sound like what could have come off a Reign in Blood-era Slayer album, displaying the range of influences that the band has put into the music. Cold Inert further shows the band’s songwriting diversity, with slower parts reminiscent of later Marduk works present among the chaos that the faster sections present.
The dirty and slightly raw production quality keeps up and is fitting to the album title, The Bell of Leprous, and the lyrical themes that reek of death and nihilism on the songs. The numerous spoken samples such as those on B11 also help to keep up the atmosphere in the album as well. Despite so, none of the instruments are buried under the mix, which helps to make the album an extremely enjoyable one for fans of heavier and more aggressive variants of black metal.