The Canadian black metal scene is often cited as the ultimate benchmark for uncompromising, raw, and unconventional music; yet, we frequently overlook our own homegrown bands, which also possess a powerful identity setting them apart from their European counterparts. French black metal is harsh and abrasive, drawing on very specific influences; and while—as in so many other countries—many acts are simply disposable, some will leave an indelible mark on the music history books that no one will ever actually write...
I am thinking, of course, of NIGHT, a band that has truly come into its own over the years, but also of the particularly uncompromising "raw" black metal contingent—featuring essential acts like PESTE NOIRE, SAINT PREUX, and... BAISE MA HACHE.
Let’s quickly dispense with the thorny issue of discussing potential ties to NSBM.
Yes, BTH has often flirted with borderline ideologies and stances, but here, it is the music that matters. And the music delivered on this third album by the Savoyard duo will undoubtedly allow them to outpace their peers in terms of creativity and inspiration. Especially since they seem intent on distancing themselves from such questionable matters, focusing instead on themes other than the tired "Work, Family, Fatherland" triad.
And that is a very good thing.
We know BAISE MA HACHE from their first two releases, *Le Grand Suicide* and *Ab Origine Fidelis*. These sparked significant interest not only in the French underground but across Europe, and they now resonate far more powerfully than one might have imagined through *Bréviaire du Chaos*, the duo’s most ambitious album.
To achieve this, they refined both their compositions and their sound. While the latter remains as dry and unforgiving as ever—adhering to the tenets of Raw Black Metal—it lends greater scope to the instrumentation, enveloping the vocals in a cloak of glacial cold. The sound features freezing guitars, a frost-bitten bass, and rigid drumming that strikes the flesh like snowdrifts tumbling from an ancient winter grave. Musically, the duo has pushed further than usual, serving up ten compositions that are flawless in both substance and style. They also extended invitations to some well-known guest vocalists, including Outre-Tombe from the Quebecois band AKITSA and the inimitable Hreidmarr—the provocative frontman of CNK—who finds the perfect showcase here for his flair for dramatic storytelling. But there is no question of welcoming such guests without setting a truly impressive table; they rarely settle for a hastily arranged buffet that falls short of their stature.
It works out perfectly, then, that Jon and Thorwald have pulled out all the stops—fully aware that the "third-album hurdle" is a notoriously difficult milestone to clear, even for a Black Metal band with such distinctive ambitions. *Bréviaire du Chaos* arrives with splendid artwork crafted by the Metastazis agency, depicting axe-bearers from beyond the grave, poised to shatter the obstacles erected by enemy lines. These enemy lines might be envisioned as an intelligentsia that views the band merely as yet another bastard offshoot—fit only to irritate the skin of "respectable" music (a style the duo will, thankfully, never adopt). They have incorporated some notable effects—quoting Céline, Caraco, and Obertone on "Le Viol Des Foules"—but above all, they have developed song structures that brilliantly exploit their expansive sound.
This approach manifests in atmospheres that are both toxic and inherently violent—as demonstrated by the ferocious "Le Fils de la Peste," which reminds us that Baise Ma Hache are not Peste Noire’s brothers-in-arms by accident—or, conversely, in winking interludes like "Whisky, tu es le diable." This little inside joke leverages Thorwald’s staggering vocal timbre to spread alcoholic fumes that spiral into a kind of personal madness. "Personal"—the word is out, and not by chance. Everything about this album suggests an infernal alliance between the raw brutality of uncompromising Black Metal and the bitter, intoxicating melodies of the 90s Scandinavian scene—the hallmark of this "new" French scene that has been toiling tirelessly in the shadows for years. While BAISE MA HACHE initially seemed—like so many others—so tethered to the underground that breaking free appeared inconceivable, *Bréviaire du Chaos* unequivocally proves that their ambitions are now clearly stated and proudly displayed like a banner.
Tracks of epic proportions, such as "L’Armée Furieuse," demonstrate this with absolute conviction, highlighting the fantastic work Jon has done on the rhythm section; he no longer settles for merely providing the backbone but often sets the musical direction—a path the guitars follow without restraint. Were the atmosphere not so abrasive, one might almost speak of symphonic black metal, though I am certain the two musicians would loathe such a characterization. Thorwald has also altered his vocal approach; while still rasping, of course, he incorporates interesting modulations. Hatred and anger remain the primary driving forces, yet here and there one can discern unexpected shifts that add undeniable value, lending greater weight to his lyrics.
This third album boasts no shortage of standout tracks, though I admit to a personal preference for the lengthy "Une Lame pour les Infâmes."
Sample:
Baise Ma Hache - Bréviaire du Chaos - Full Album 2016
