I kid you not – I haven’t been so anxiously expecting an album since Nightwish’s “Dark Passion Play”. I know, I shouldn’t admit I like Nightwish, but whatever. OK, I like Nightwish.
But now the time has come again when those feelings are getting high, the days are sooo painfully long and one just can’t wait in silence while waiting for the most expected album of the year – at least in black noise circles, the mighty Enbilulugugal’s “We Hope You Fvkken Hate It” album of 2019.
And although it kinda breaks the continuity of our mapping out the Enbilu releases, it would be an unforgivable crime not to review this album now. So, here we go.
The album contains 12 tracks, including an intro, midtro and an outro. And not surprisingly, the intro “Goatvoid (Intro)” is, well, the opening track. The sound of what’s coming. The impending doom of your hearing.
And second song has its own quick intro as well and after that we’re straight into “Lard of the NecrObese”. The riff is certainly not new and I am quite sure I’ve heard it somewhere else (or very similar to this one), but I certainly like two things – the direction Enbilulugugal is heading (sort of the way Meat Shits have evolved from their old noisecore days to present death/grind stuff), disharmonic elements (properly headache inducing, which is cool) built upon the said base riff, and the demented vokills of Izedis who sounds here like an angry insect interbred with a rotweiller. OK, that makes three things to like. Even better.
Next, one, please! “Torn to Pieces by Rabid Devils”, starting like an old school USDM form 1990s only to quickly switch to death/grind gears and then, not even a minute into the song, introduced by the weeping guitar, bringing to us some nice punkish vibe. Man, that’s enough variety for anyone. And then…stop! Hammer time! No, leave the old guy along, we are still in the grindcore mood, but folks, we’re getting melodic. And Izedis sings (or am I dreaming?). The whole song is elevated to industrial piece by the relentless drumming and stuff like that I like. The varied vokills are a bonus too. Man, it’s 6:10 long and it doesn’t bore me. Hmm…
“Initiation of a Seedy Old Kvnt” is again varied death/grind stuff and though it’s pretty standard riff-wise (no reason not to state that), it’s still great to listen to, especially for – you should have guessed by now – vokills (that oral noise in the part after 1:00 mark is just fucking great), but I also hail the return of the disharmonic guitar tunes in this song.
Yeaaaaaaaaaaaaaaaaaaaaaargh…add some distortion on vokill and you have an opening to “Where the GoatWinds Blows”. Interesting machine-like drums, creating the initial trance state, just to be rip open by the riffing wall and insane – now to the point of standard – vokills. In the middle of the song we once again stop for a short, and interesting, intermezzo and continue with the aural onslaught. Personally, I like the way drums drive this song, rolling before them a wall of bass and heavy riffs. By the end, though, we’re slowly getting into the familiar territory of noise, but it’s a different noise than we know Enbilu for. But it’s still noise, chaotic – and nice.
“Insemination of the Drunken GoatFukk”. If I haven’t praised the genius behind songtitles yet, I need to do it. Therefore, the song titles are genius. And this song as well. Again, if you listen carefully, you can catch some nice melody. Yep, in the simple as fukk (or not) riffing, intervined with nervous guitar lamenting, and the whole swamp of bass mumbling, grimly enhanced by keyboard now and then, you can actually find a melodic song. And I am not ashamed to say this is one of the highlights – if not the best song – of the album.
3:06 for a mid-intro is certainly interesting concept, and “KvntVoid” (Midtro) doesn’t disappoint. Excellent noise ambient track, inducing the sense of uneasiness and urgency, even cosmic cold, but still somewhat – with some higher tones as contrasted to the distorted vocal – also brings a strange form of peace and relax (at least for me). And although not typical for the album, I would also mark it as one of highlights. It’s that good.
Short intro and full speed into the demented, disharmonic chaos, which is “The Lard is the Life”. We’re getting back in the noise fold, and it’s Enbilu as you know it. At least for a while and with a better production, before we hit the brakes and slow down to almost Cathedral level. Those layered vokills are fucking kewl, bro!!!! But after that, we speed a little again and the guitar rewards listeners with weird soloing almost to the end of the song. And it has some nice rockish elements!! Can you dig it? Yes, I can!
And noise continues also in “The ol Goat Bangin LardSkank”, and if you persist for a while while the song pushes through the solid mixture of sounds, you will hear the change into the death/grind intermezzo again (for a short while with the simple riff), topped up with little monotonous passage, lit up only with the sound of the guitar. But it’s only 2:21 total, so even if I’d class it as one of the weaker songs on the album, it’s still endurable. So don’t complain, mkaaaay?
The trance inducing stuff is back, in this case it’s the beginning of “Erection of the GoatSerpent Kvnt”. Nice transition into the track itself, the vokills are insane as always, while the slimy bass only ocassionally gives way to chaotic guitar with great siren-like sound . Again, disharmony is a-plenty, but at the same time contained within the framework of machine drum pattern.
And because one Kvnt is never enough, we’re invited to “Shit on the Kvnt” which could describe my feelings towards my ex, but that’s for another story, lol. What you want, 5 minutes of death/grinding with Izedis’ insane vokills and equally insane guitars. Bonus is the chanting “Shit on the Kvnt”, which is something you don’t hear often in songs of Enbilulugugal (chanting, not Kvnt, of course). The song itself is not bad, but it lacks the genius of first half of the album. However, that’s OK. If you are a fan of older Enbilu releases, the more chaotic stuff, you know, you will like it more, as it’s exactly up your alley. I certainly am more in love with the more modern stuff of this black noise gigant, so whatever, choose your side. It’s still soothing to listen to it. Win-win situation, if you ask me.
And before the final outro, we can enjoy one last song – “Apokalyptik GrimmfvkkerZ”. A fucking weird and great song, but how I’m supposed to describe it? The intro is just one helluva kewl stuff. Indescribable. But cool. Actually, it’s describable – it’s audio-hell. And we all are in it. However, as strangely as it sound, voluntarily (at least me, don’t know about you). And Izedis again sounds like a screeching alien parasite, which is probably my second most favourite style of his vokills (the first one is that sewer bubbling vokill he uses sometimes). Musically we don’t deviate from the whole album style, it’s just more insane. Less varied, more noise-oriented.
What’s left? The outro. “LardVoid” (Outro). Absolutely fitting end of the album. An essence of post-apocalyptic black noise ambient. The closing of the door of the padded cell in the asylum. The end of the road. The light in the end of the tunnel. The eviction notice. The empty bottle. The inevitable end of everything.
Well, was it worth waiting for? Fuckin’ hell yeah! Although, as I’ve mentioned above, the album has its low moment or two, as a whole, it’s certainly enjoyable and without a slightest doubt won’t go unnoticed in Enbilulugugal discography. Although I didn’t fukken hate it.. I fukken love it.
Oh, and by the way – many claim to be Enbilulugugal fans, but you know, talk is cheap… so, you fans out there, have you already secured your copy of the album?