Even if it’s not so prevalent now, part of black metal’s original aims was to shock, subvert, and make uncomfortable. Metal fans and horror aficionados alike, among others, are privy to the thrills of art that disquiets, and sends a shiver up the spine. Teitan—the solo project of Dutch multi-instrumentalist Devi Hisgen of Marquis and Cthuluminati—seems to attempt exactly this. Ostensibly black metal at base, In Oculus Abyss leans heavily into the electronic and industrial influences present on its predecessor debut and EP, and combines it into a psychedelic nightmare quite aptly expressed by the wildly staring eyes of the cover art. Plenty of avant-garde and experimental projects can make a listener balk at strangeness, but Teitan also knows how to write compelling compositions that hit the sweet spot of bizarre and beautiful more often than they miss.
In Oculus Abyss feels deeply psychological, as it gets under the listener’s skin with weird and weirdly catchy refrains, and maniacal, sinister vocal delivery. Alongside pulsing, droning synth, semi-dissonant guitars, and omnipresent eerie atmosphere, Hisgen whispers, croaks, moans, shrieks, growls, bellows, sings, and even laughs with consistent pathos, and frequent malice. Without lyrics, much remains opaque, but we are assured from the promo that there is a focus on Existentialist philosophy. From what is audible, some specifically Greek subjects come to light. “The Die is Cast” focuses on Socrates’ trial, while the charmingly-titled “Public Masturbation” takes the point of view of Diogenes—the cynic or “dog”, from which the word originates. Similarly forward in name, “Menstrual Blood and Pomegranate” could be a reference to the fruit’s symbolizing fertility, and the eating of which forced Persephone to ever spend half the year in the Underworld, and to bring spring with her return above ground in the other half. With few exceptions, Teitan twists every topic into a lurid fever dream. Even when not menacingly rasping “I despise her/Shall I kill her?” (“From Under the Floorboard.”)
The album feels very much like a coherent whole, yet, to its benefit, each song has a sensibility of its own, often congruent with its suggested subject matter. “From Under the Floorboard”‘s creeping, echoing plucks imply a stalking monster. “Insectoid”‘s lurching descending/ascending tremolos recall an angry, buzzing insect. The humming pulse of “Drowning in Knowledge” washes over and almost suffocates with mournful menace, while the echoing atmosphere of “Purple Void” resonates with a solemn emptiness. There are many styles and elements in play, but nothing feels forced, with more ‘traditional’ black metal ingredients mixing well with the experimental. Frosty charges rise naturally out of droning plucks and sounds of birdsong (“Murder Me,”). Electronica, feedback, and subtle choir accent metallic chords, and gritty vocals (“Menstrual Blood…,” “Gang Mahal”). Disturbingly layered whispering and growling enhances already urgent and unsettling passages of blackened avant-garde (“Insectoid,” “The Die…”). Tribalistic rhythms make synth-warped instrumentation take on new eerie allure (“Public…,” “Gang Mahal”).
Teitan has channeled the bizarre in an effectively compelling way. Perhaps not for everyone, as Hisgen’s vocals (deliberately) test limits with how disturbing and unhinged they can be. But anyone already enamored with the likes of Dødsengel and DHG will find themselves in good company here. In Oculus Abyss is discomfiting and enjoyable in equal measure and even with a few things to iron out, it ought to put Teitan on the map for the weirder sides of black and experimental metal.
Rating: Good
DR: 8 | Format Reviewed: 320 kbps mp3
Label: Onism Productions (UK) | Void Wanderer Productions (ROW)
Websites: teitan.bandcamp.com | facebook.com/theblackteitan
Releases Worldwide: May 26th, 2023
