For me Baest was an absolutely random find, although the recommendation for their latest music video had been stalking me for weeks. My interest finally piqued to the point where I was pretty much forced to make the dreaded left mouse click and already within the first thirty seconds of “Genesis”, I realized that I’m in for a treat. Tight intro riffs felt more progressive, rather than straightforward death metal, as I expected. Along with the other instruments, they slowly slide you into a variety of grooves with some brutal storytelling. All of this encapsulates the perfect opener for the Necro Sapiens‘ album and leaves a lot to look forward to.
The extremely deep and thick gutturals remind of Akerfeldt’s sound in Bloodbath, even the crisp lows of Travis Ryan in some parts. Entering the conspiracy theory waters, I’m pretty sure that I heard some Infant Annihilator references in “Purification through Mutilation”, both vocally and lyrically. Primarily mid-tempo rhythms with some crushing double bass drumming keep the tension consistent throughout the whole album, occasionally descending into almost menacingly doomy, slow atmosphere. I haven’t even noticed that there wasn’t a single solo until the melodic section in “Towers of Suffocation”, which definitely is not an issue. The dynamics of this album allow the constant heaviness to stay interesting and consistently bring something new with each song.
Baest are genuinely enjoying themselves and having fun within their “evil” genre of music, which is clearly visible in the music video for the title track “Necro Sapiens”.
To me, the mix of Necro Sapiens is a perfect blend between modern and old school death metal, and definitely a huge step up from the sound of their debut album Danse Macabre and even the more recent Venenum. Every instrument is crystal clear, despite the heaviness of the vocal style, the lyrics are almost entirely distinguishable, which also is a huge compliment to Simon Olsen. If I would really attempt to be nitpicky, I could ask for more variety in the vocals at the start, but the few last songs definitely make up for that. Moreover, the song Czar – which could be referring to Ivan the Terrible or pretty much any other tyrannical Slavic king of the medieval times – portrays the dark mood of a hateful tyrant, by using appropriate lyrics and prolonged monotonous growls just perfectly right. If Disney’s Anastasia would be remade with a more realistic and gruesome portrayal of Rasputin, this would be a perfect fit for a villain’s song.
I really feel like mentioning a commendable addition to the “Caveman Riff of the Album” hall of fame, which resides in “Abattoir”. The whole song sounds to me like a combination of influences from Carcass, Cannibal Corpse, Suffocation and other influential face melters. The tapping riff in the chorus casts an absolutely nasty grimace on the face of the listener, which I could not be happier about.
I guess I’m just glad the album is as long as it is, but not longer (and not shorter definitely). With an abundance of catchy riffs, melodies and potent brutality, Necro Sapiens will stay enjoyable for many listens. The band itself said that they wanted to have fun while writing their music and I definitely had a lot of fun listening to it.
Baest’s new album Necro Sapiens was released on March 5th via Century Media Records.
Best Tracks: Genesis, Necro Sapiens, Goregasm
Weakest Tracks: Sea of Vomit
FFO: Bloodbath, Morbid Angel, Entombed A.D., Carcass