Hey there! Today, I want to talk about a French progressive black metal band called Ætheria Conscientia. They formed in 2016 and have continued to blend various genres within black metal with their second concept album, “Corrupted Pillars of Vanity.” Their first album, “Tales From Hydhradh” (2018), created a fictional planet called Hydhradh and told the story of its traditions. In their second album, they focus on the conflicts on this planet, continuing their narrative. The album consists of 5 tracks totaling 56 minutes. If you’re into bands like Ihsahn, Rivers of Nihil, and White Ward, buckle up!

The 15-minute opening track “Asporhos’ Altering Odyssey” initially intimidated me, but it feels like it’s divided into sections with transitions that make it flow well. With a long atmospheric intro and a saxophone that changes the song’s direction, this track sets the tone for what to expect. The composition and memorable riffs create a successful 15 minutes. I was impressed by how each instrument stood out without getting lost in the mix. I learned that the drums in this album were electronically programmed, and if I hadn’t checked the lineup, I would’ve thought they were live. Kudos to the band for the drum sound that doesn’t grate on the ears.

Fans of post-black metal band White Ward will be pleased (besides the saxophone) because White Ward’s vocalist Andrii Pechatkin features on this track. Pechatkin’s aggressive vocals, paired with the saxophone, take the song to another level. In the last 3 minutes, the guitar solo and intense percussion create a tribal and organic atmosphere. This track alone showcases a blend of several genres.

The shortest track on the album, “The Corrupted Sacrament” (still 7 minutes), is probably my favorite. The dark riff at the beginning gave me Ihsahn vibes, although that changes when the vocals come in. It’s more aggressive than the opening track but balances it with a jazz-influenced section that brings a cheerful vibe. I liked how the saxophone solo was extended in this song.

The third track, “Liturgy for the Ekzunreh,” feels like a ritual. The percussion and throat singing make me feel like a mysterious tribe member. Throughout this part, there’s an ambient, post-rock-style reverberated guitar in the background. Then the song gets aggressive halfway through. I would’ve preferred this track to stay atmospheric and serve as an interlude.

“Liturgy for the Ekzunreh” is written in Hydhradhian, a language created by the band for their fictional planet Hydhradh, so there’s no direct translation of the lyrics. I assume it has religious content, but I couldn’t decipher the meaning. In 1969, Zeuhl pioneers Magma also created their own language for their fictional world, Kobaian. This concept has been repeated over the years, but it’s still a unique and distinguishing feature for Ætheria Conscientia.

The last two tracks are essentially a 25-minute piece split into two parts, titled “Absurd Crusade.” The first part, “Elevation in Arrogance,” features another guest from White Ward, with Dima Dudko on alto saxophone. This track excited me the most, especially the section starting at 4:20, which felt like listening to a metal version of a tango. I enjoy such quirky things; it was fun.

The second part, “Collapse in Penance,” begins quickly, delivering a final show for the listeners. It includes a calm section, signaling the end and allowing us to gather ourselves.

Our journey with Ætheria Conscientia ends here; you can unbuckle your seatbelts. For a general evaluation of “Corrupted Pillars of Vanity,” perhaps a more impactful closing track could’ve been chosen. Maybe even swapping parts 1 and 2 could’ve made for a better ending. Personally, I’d prefer 10 tracks of 7-8 minutes each rather than 5 tracks of 15 minutes. But that’s just my taste; fans of long songs will appreciate this. This album isn’t for everyone; it caters to specific tastes. For those who love wind instruments in metal, this album is gold, but for those who don’t, it might be a tiring listen.

Asuna Pehlivan