On Cette Erosion De Nous-Mêmes, Nesseria take more sonic risks than ever and they all pay off.
Since their inception in 2003, Nesseria have been in a constant state of stylistic evolution, refusing to stagnate creatively. The Orléans-based act began life with a spastic, grinding sound on their early demos and splits before pursuing a more blackened hardcore sound on their full-length releases, which reached its apex on 2014’s Fractures. Their third full-length recording, Cette Erosion De Nous-Mêmes, shows the band embarking on a new aural journey; presenting a staggering change in sound for a band with a history of dabbling in the more antisocial and gritty forms of extreme music.
On this new 40-minute opus, Nesseria weave together the more melodic shades of the black metal genre, with elements of post-hardcore, shoegaze, post-rock and modern screamo. This sonic amalgam is not new to the heavy music world, but it is one that Nesseria melds almost seamlessly with their grimier roots, resulting in their own unique take on the style. The record simultaneously deals in aggression and beautiful melancholy; crafting songs that are all at once vicious and dynamic.
Furious hardcore-esque drumming barrels beneath melodic, blackened post-hardcore riffs open the album on the storming “On Prendra L’Habitude”, which will immediately draw comparisons to the works of Envy or Heaven in Her Arms. From this opening barrage of furious chords, the song dives into a dissonant dirge that thunders with chugging guitars underneath, which will leave listeners to believe that something undeniably sinister is on its way. But the band sidestep typical genre tropes and instead craft luscious, melodious layers of tremolo-picked riffs that result in a kaleidoscopic climax that is totally enthralling.
“La Chasse Aux Écureuils” continues along the path its predecessor laid out for it by crafting towering, stampeding post-hardcore chord progressions that are painted in shades of screamo and introspection. The track weaves back-and-forth between these anthemic rampages and sections of atmospheric, blackened riffs whose sullen, earworm melodies burrow their way into listener’s skulls and stay there. Then there are cuts like “St Petersburg” in which Nesseria fully dive into the whole “blackgaze” subgenre. Here, tremolo-picked riffs enveloped in potent layers of saddened atmosphere and melody make up the bulk of the track, and will call the likes of Alcest and Oathbreaker to mind. Although most of the track is a melancholic affair, it eventually ends in a climax of devastatingly heavy and concussive proportions.
Cette Erosion De Nous-Mêmes harks back to its predecessors on tracks like “Forteresse” and “Dans L’Ombre Et Sans Visage”. The former track unleashes frenetic blackened hardcore chaos in abundance, while the latter track dishes out some pretty malevolent black metal instrumentation. While these tracks do touch upon some of the new elements the album brings to the fold, they are not quite as pronounced as they are in the other tracks. But even though these particular cuts are somewhat anomalies when compared to the album as whole, they are still solid tracks and welcomed kicks in the teeth.
“À L’Usure” and the title track are two songs on the album that standout among the rest. “À L’Usure” is a post-rock enveloped acoustic ballad lead by vocalist Dez’s pain-stricken screams that seems to be wrought with emotional turmoil. “Cette Erosion De Nous-Mêmes” closes out the record with slow-burning shoegaze that builds from quiet murmurs to walls of gorgeous sound that are completely enveloping.
Nesseria have outdone themselves with Cette Erosion De Nous-Mêmes and have set the bar high for their contemporaries.
Release Date: October 6, 2017
Favorite Tracks: “La Chasse Aux Écureuils” and “St Petersburg”
For Fans Of: Oathbreaker, Death Engine and Cortez