Five the Hierophant – Over Phlegeton

Dark Essence Records – 2017

There's a rare breed of album which instantly becomes a cult classic, and I can confidently say Over Phlegeton is one of them. Experimental, weird, bizarre, none of these words come close to describing just how extraordinary and interesting this record is. If I had to draw parallels with another band, I'd say it's a heavier, more mature version of Mamaleek, with many similar elements such as the ethnic percussions or non-traditional scales, but with a much darker visage and more detailed composition.

There have been incredible avant-garde metal albums using unconventional instruments, but none have been so tactfully used as the saxophone is on Over Phlegeton. Played as a full instrument and not a token nod to some jazzy experimentation, Five the Hierophant explore the extremeties of what the sax can do – from screaming leads floating above the guitars to wailing voices in the wind, passing by heart shaking drones and almost accidental interventions. Other instruments were used during the recording, and I ended up giving Over Phlegeton the electronic music treatment, no longer trying to recognized what was being played and instead enjoying the soundscape for what it is.

Going from quasi-desert rock to pseudo thrash riffs, Five the Hierophant know how to construct an interesting, twisting album filled with surprises. The build-ups and bridges are good, and the climaxes are relentless and cathartic – no dynamics sound kitsch, and no two songs are similar in structure. As an artist, it's always difficult to assume the position of the consumer and hear from their ears, Five the Hierophant on the other hand understand how to use narrative structure. Songs are written with the same flow as individual riffs have, with great attention brought to timing and visceral reaction. Der Geist der stets verneint deserves a word as being what a macabre circus would sound like – an expected move given the saxophone, but well-executed.

The production of Over Phlegeton is incredible, with plays on panning and what sounds like a gigantic pedalboard warping the guitars into alien landscapes, harsh distorted tones or full drones. The kick drums have some variation, sometimes marking beats and sometimes acting as subwoofer-destroying blasts of bass like on the heavier section of Seafarer. Somehow, the producer managed to mix so many experimental elements without losing his mind, and created a musical beast of gigantic proportions, on par with the amazing Through the Mirror (2017 – Daymare Recordings) of Endon earlier this year.

Giuseppe Fitzsimmons

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