Review by Felix on May 22, 2019.

Rumbling, somehow awkward sounding guitars characterize the production of Délétère's first full-length, dated 2015. This is a sound one has to get used to. The massive and more or less lumpy mix contradicts the actually fine leads and melodies. This is not as bad as it sounds, because this kind of inner conflict gives Les Heures de la Peste a certain individuality. By contrast, the hoarse and baleful voice does not provide a special contribution. Sometimes icy, passionate screams appear that build a bridge to the most extrovert Scandinavian black metal singers. But this is not as bad as it sounds, too. To close this chapter, the production is not outstanding, but okay.

What about the musical content? Délétère originates from Quebec and they fulfil every expectation in terms of style. At least the fast sections of the duo's compositions lie in close proximity to the songs of their neighbors. I am speaking of Forteresse, Csejthe and comparable bands from the constantly boiling Canadian metropolis. One could also mention Sanctuaire if one leaves their ambient pieces out of consideration. But wait, the here reviewed work also houses some ambient elements. However, do not think of endless keyboard lines that wander alone through the barren prairie. Songs like "Aux Thaumaturges Égarés, une Étoil Nécrosée" create a desperate, sinister atmosphere without neglecting the metallic fundament. Lonely guitars deliver the soundtrack to a sad scenario while darkness falls over the land, but they are mostly accompanied by the infernally echoing lead vocals and the reliable rhythm section. By the way, this piece with a duration of more than seven minutes shines with its compositional coherence - and this coherence is no exception, but the standard. The dudes mostly deliver intelligently constructed tunes, and this is not a matter of course when it comes to a debut work with eight songs that clock in after 48 minutes.

The album - which is equipped with a stylish booklet - generates a very uncomfortable feeling due to its strict leads and the painful yelling. The ecclesiastical choirs at the end of "Une Charogne Couronnée de Fumier" also create ambivalent emotions, to say the least. It is amazing to see that both sides of the band work very well. The raging outbursts and the atmospheric sections complement each other in a good manner. "Credo II" is the prime example. Its Forteresse-like high velocity parts shine with fascinating leads and pure vehemence, while the gloomy yet extremely heavy episode which sets in at 2:40 minutes delivers the perfect supplement. No doubt, it seems as if Quebec has become a guarantor for high class black metal with an unmistakable flavor. To cut a long story short, if one likes cascades of guitar lines, fervent vocals and a high degree of dedication, Les Heures de la Peste has a good chance of becoming his or her album of the month. Great songs like "Le Lait de l'Essaim" are not ten a penny. Indeed, the mostly fantastic compositions let me forget the slightly dubious production. Honesty speaking, I want to hear more of Délétère.

Rating: 7.7 out of 10

Review by Felix on May 22, 2019.

Rumbling, somehow awkward sounding guitars characterize the production of Délétère's first full-length, dated 2015. This is a sound one has to get used to. The massive and more or less lumpy mix contradicts the actually fine leads and melodies. This is not as bad as it sounds, because this kind of inner conflict gives Les Heures de la Peste a certain individuality. By contrast, the hoarse and baleful voice does not provide a special contribution. Sometimes icy, passionate screams appear that build a bridge to the most extrovert Scandinavian black metal singers. But this is not as bad as it sounds, too. To close this chapter, the production is not outstanding, but okay.

What about the musical content? Délétère originates from Quebec and they fulfil every expectation in terms of style. At least the fast sections of the duo's compositions lie in close proximity to the songs of their neighbors. I am speaking of Forteresse, Csejthe and comparable bands from the constantly boiling Canadian metropolis. One could also mention Sanctuaire if one leaves their ambient pieces out of consideration. But wait, the here reviewed work also houses some ambient elements. However, do not think of endless keyboard lines that wander alone through the barren prairie. Songs like "Aux Thaumaturges Égarés, une Étoil Nécrosée" create a desperate, sinister atmosphere without neglecting the metallic fundament. Lonely guitars deliver the soundtrack to a sad scenario while darkness falls over the land, but they are mostly accompanied by the infernally echoing lead vocals and the reliable rhythm section. By the way, this piece with a duration of more than seven minutes shines with its compositional coherence - and this coherence is no exception, but the standard. The dudes mostly deliver intelligently constructed tunes, and this is not a matter of course when it comes to a debut work with eight songs that clock in after 48 minutes.

The album - which is equipped with a stylish booklet - generates a very uncomfortable feeling due to its strict leads and the painful yelling. The ecclesiastical choirs at the end of "Une Charogne Couronnée de Fumier" also create ambivalent emotions, to say the least. It is amazing to see that both sides of the band work very well. The raging outbursts and the atmospheric sections complement each other in a good manner. "Credo II" is the prime example. Its Forteresse-like high velocity parts shine with fascinating leads and pure vehemence, while the gloomy yet extremely heavy episode which sets in at 2:40 minutes delivers the perfect supplement. No doubt, it seems as if Quebec has become a guarantor for high class black metal with an unmistakable flavor. To cut a long story short, if one likes cascades of guitar lines, fervent vocals and a high degree of dedication, Les Heures de la Peste has a good chance of becoming his or her album of the month. Great songs like "Le Lait de l'Essaim" are not ten a penny. Indeed, the mostly fantastic compositions let me forget the slightly dubious production. Honesty speaking, I want to hear more of Délétère.

Rating: 7.7 out of 10

Review by Felix on May 22, 2019.

Rumbling, somehow awkward sounding guitars characterize the production of Délétère's first full-length, dated 2015. This is a sound one has to get used to. The massive and more or less lumpy mix contradicts the actually fine leads and melodies. This is not as bad as it sounds, because this kind of inner conflict gives Les Heures de la Peste a certain individuality. By contrast, the hoarse and baleful voice does not provide a special contribution. Sometimes icy, passionate screams appear that build a bridge to the most extrovert Scandinavian black metal singers. But this is not as bad as it sounds, too. To close this chapter, the production is not outstanding, but okay.

What about the musical content? Délétère originates from Quebec and they fulfil every expectation in terms of style. At least the fast sections of the duo's compositions lie in close proximity to the songs of their neighbors. I am speaking of Forteresse, Csejthe and comparable bands from the constantly boiling Canadian metropolis. One could also mention Sanctuaire if one leaves their ambient pieces out of consideration. But wait, the here reviewed work also houses some ambient elements. However, do not think of endless keyboard lines that wander alone through the barren prairie. Songs like "Aux Thaumaturges Égarés, une Étoil Nécrosée" create a desperate, sinister atmosphere without neglecting the metallic fundament. Lonely guitars deliver the soundtrack to a sad scenario while darkness falls over the land, but they are mostly accompanied by the infernally echoing lead vocals and the reliable rhythm section. By the way, this piece with a duration of more than seven minutes shines with its compositional coherence - and this coherence is no exception, but the standard. The dudes mostly deliver intelligently constructed tunes, and this is not a matter of course when it comes to a debut work with eight songs that clock in after 48 minutes.

The album - which is equipped with a stylish booklet - generates a very uncomfortable feeling due to its strict leads and the painful yelling. The ecclesiastical choirs at the end of "Une Charogne Couronnée de Fumier" also create ambivalent emotions, to say the least. It is amazing to see that both sides of the band work very well. The raging outbursts and the atmospheric sections complement each other in a good manner. "Credo II" is the prime example. Its Forteresse-like high velocity parts shine with fascinating leads and pure vehemence, while the gloomy yet extremely heavy episode which sets in at 2:40 minutes delivers the perfect supplement. No doubt, it seems as if Quebec has become a guarantor for high class black metal with an unmistakable flavor. To cut a long story short, if one likes cascades of guitar lines, fervent vocals and a high degree of dedication, Les Heures de la Peste has a good chance of becoming his or her album of the month. Great songs like "Le Lait de l'Essaim" are not ten a penny. Indeed, the mostly fantastic compositions let me forget the slightly dubious production. Honesty speaking, I want to hear more of Délétère.

Rating: 7.7 out of 10

Review by Adam M on November 10, 2014.

After having waited for 19 years for this album, it comes as no surprise that there is some anticipation on my part for At War With Reality. This is really just the logical continuation from Slaughter of the Soul, but with a slightly more conceptual feel. The album is a welcome relief because it harnesses a great deal of melody that the otherwise quality new The Haunted album is lacking. Sure, the songs are somewhat straightforward, but there are more than enough interesting segues in compelling directions on the album to break up the standard riffing that is mostly excellent anyways.

But what comes as more welcome is that this album is probably more weighted towards the end than the beginning. Some of my favourite tracks on the album like The Head of the Hydra and Eater of the Gods will surprise you towards the end of At War With Reality. A nice production perfectly complements the juxtaposition between power and melody. There is a fault that the album could be more adventurous, but this album is still far more exciting than some are making it out to be. The guitar work is a highlight, but I’m more than thrilled with the performance put forth by Thomas Lindberg. Modern production really makes his wonderful acid tone a prominent element of the disc and people should try to appreciate his style before coming to conclusions with their opinion on the album.

At War With Reality is an album made for fans of a more modern style, so it will probably appeal to those that love Slaughter of the Soul and Terminal Spirit Disease from their discography the most. I haven’t been able to stop listening to it since getting a hold of it, so be prepared to become addicted all over again.

Rating: 9 out of 10