Nero Bellum and his crew. You’re either into it or you’re not. I was into it back when they were mainly making electronic harsh and industrial. Then they rediscovered guitars, and to my ears, it often started to sound like more of the same. Hard and destructive all the way through—and sure, I can definitely handle that. But the melody, the kind the synths used to bring alongside the guitars, faded too much into the background. More pure metal alongside the industrial metal. I'm curious to hear what the gentlemen have achieved on their new album And Then Oblivion, which was released on March 21st via Metropolis Records.
We know Psyclon Nine can be sweet, almost timidly dark, but just as easily blisteringly cruel. And at times, you have no idea which way the industrial wind is blowing. Well, I needed a few listens to really take this album in and wrap my head around it.
Opening gently... is it a choice? A misdirection? A stretching of expectations? Anyway, Devils Work opens with ominous chimes. The kind that would serve a good horror movie well. Then come deep synths and Nero mumbling his way through. It even has drum ‘n bass vibes. Guitars fight to grab the spotlight. And they win, because on I Choose Violence they get to take the lead. Alongside a drum ‘n bass beat clearly rooted in techno, layered with an industrial topcoat by the guitars. Here too, Nero mutters his lines as if he's a character from some Harry Potter-style fantasy film.
But that’s just foreplay for… Shoot To Kill, which announces itself like an old-school EBM track: bassline. Naked. Raw. Until the drums and Nero's signature heavily distorted vocals—and equally distorted guitars—take over. In the background, a sweeping synth line. This is industrial metal that's hard and danceable at the same time. Which is, after all, one of Nero’s trademarks. Alongside the screaming, we also get a deep, growling metal voice to crank things up even more.
CRWLNG FRM CNT TCSKT takes it up another notch. This is solid industrial metal where everything sounds in harmony. Crushingly heavy across the board. The tempo changes provide some breathing room, but really they’re just excuses to endure this pounding sledgehammer of a track. And just when I think I’ve heard the heaviest the album has to offer… foolish hope. Locust Of Everything is an exuberant song. Here Psyclon Nine… well, “exuberant”—it’s just pure black metal, the kind Norwegian bands love to wallow in. Synths disappear, while guitars and drums go on such a rampage that you’re forcibly subjected to all the world’s doom. Whereas I sometimes “checked out” during earlier albums, this one grabs me by the musical throat. I’ve rarely felt them this intensely. Thankfully, there’s a little mercy in Evil Speaks. The tempo is dialed way back, and we get a danceable pure electro track, with some sampled guitars peeking in around the corner.
Say Your Prayers is once again a bombastic song, almost an epic tale. Electro elements and sounds wander back and forth. Alternating double (or even triple) bass drums add weight to the foundation. A majestic track.
Après Toi Le Déluge is a piece of classical, soundscape-like music that could easily be used for a spa playlist… Yep, Psyclon Nine gives us that too.
Taxidermy brings us to the end of the album. A goth rock song where Nero doesn’t scream, but sings. A voice reminiscent of Sopor Aeternus emerges. And still, danger lurks just around the corner.
Well… all in all, a varied album. Where I had somewhat lost touch with the band, I gladly hitch my wagon back to them with this one. And I solemnly vow to attend and look forward to their show at Amphi 2025. Amen!