Review by Dominik on September 17, 2025.

If I had to pin Membaris down with just two words, they would be "endurance" and "perseverance". For over twenty years the band has been hovering in that strange twilight zone where the motto seems to be "almost there", "just shy of a breakthrough", or "you can hear the talent, but…". They seem always circling the gates of greatness, never quite storming through. The band has consistently shown promise, but I've long felt that Membaris lacks that elusive "something" that would push their records over my personal threshold of 80/100, which separates a "good" record from a "must-hear" category.

"Black Plasma Armour" doesn't break the pattern, until, disturbingly, it does. This is one of those rare albums in my collection that constantly drives me to the brink of madness. Few albums I recall swing so wildly between "is this mediocre?" and "holy hell, this is brilliant". On Monday it feels run-of-the-mill, and I shrug it off. On Tuesday I wonder how I could have missed the inspired passages tucked inside the songs and am floored by sections I swear I hadn't heard before. By Wednesday I'm not even sure I listened to the same record at all. If that sounds confusing, it's because it is, and that's part of the charm, or maybe the curse. If nothing else, Membaris has found a way to make gaslighting into an art form.

Let me start with the easy part: the songs that impressed me right away. "Onwards To The Last Blink Of Reason" stands out immediately. The bass around the 1:40 mark rumbles in a way that recalls Bölzer, giving the track extra weight and reminds you that string instruments can sound like wild animals when handled correctly. The music mirrors its bleak lyrics, surging forward with manic aggression before pulling back into melodic reprieves. These are brief moments where the listener can reflect on the insignificance of human existence. Midway through, clean vocals appear, quoting Schopenhauer, before the song crashes back into urgency. It's a convincing mix of madness and philosophy, in other words: pure black metal existentialism. Probably just what your therapist warned you about.

"N.O.V.A." is another highlight, and the only song performed in German, which makes everything sound ten times more accusatory. At nine minutes, it's a beast of shifting dynamics. The opening minutes are relentless, building like there's no tomorrow, before slowing into a riff that oscillates between reflective and accusing. A short acoustic interlude interrupts the flow, only for the band to slam the gas again. The vocals follow suit, switching between despairing shrieks and guttural growls, painting a picture of someone screaming at the universe, then immediately realizing the universe doesn't care. Which is, of course, very German. Towards the end the song winds down in a doomy crawl. Think of it as the apocalypse in acts.

"Threshold Of Dystopia" lives up to what the title promises. The band sounds as though they're standing at the edge of a collapsing world, peering into the abyss of a post-apocalyptic wasteland. Especially the vocal performance is gripping. It moves between hopelessness, frustration, and despair. Both musically and lyrically, it's easy to immerse yourself in this vision of ruin, and Membaris nail the atmosphere completely. So far, so good. But "Black Plasma Armour" also challenges me in ways that are less pleasant.

The title track, which also opens the record, is a prime example. My first thought was "utterly unpredictable". Which sounds like a compliment—after all, nobody wants predictable black metal and to die of boredom. But here, unpredictability often feels like incoherence. It is less creative freedom and more like a drunk driver behind the wheel. The blasting sections work well enough, but the slower parts break the flow and feel stapled on. At the 4:24 mark, a bass solo jumps in from nowhere, without a clear purpose and vision. It is followed by acoustic plucking and spoken words. While each piece might work on its own, together they feel like mismatched puzzle parts forced into the same frame.

"Poet Of Fire" leaves me with similar frustration. It starts promising, but then a short acoustic fragment battles with aggression. In that moment it feels more like two tracks awkwardly stitched together than one unified composition. The tremolos sometimes drift into generic territory. The varied vocal tones—clean vocals, followed by a more imploring, desperate, and everything in between pitch—are strong, but they can't disguise the lack of cohesion.

And that's really the story of "Black Plasma Armour". There are moments of brilliance, and then there are moments where the band's ambition makes them stumble. Membaris keep circling greatness without quite landing on it. Still, I have to admire their stubbornness. After twenty years, they're still writing, experimenting, and refusing to play it safe. I genuinely hope their next release converts me into a fully-fledged disciple. Membaris deserve that much.

Rating: 7.9 out of 10, because my verdict changes more often than the weather forecast. And the album knows it.

Review by Felix on October 4, 2020.

The chaos theory says that smallest changes of the initial conditions can lead to very big impacts on the whole system. It is a fact that the wing-beat of a butterfly is able to cause a hurricane. The Coming of Chaos, released by Sweden’s Sacramentum in 1997, confirms the theory, but unfortunately exactly the other way round. The entire work sounds as if slight changes during the song-writing process could have resulted in a much better full-length.

Sacramentum’s album shares the destiny of a couple of outputs of Lord Belial. On one hand, it does not appeal to the mainstream. On the other hand, it cannot really suppress its weakness for melodies that take a lot of the otherwise attainable vehemence of the material. Admittedly, from time to time the more or less melodic touch of the compositions helps them to develop a powerful yet catchy appearance. 'Portal of Blood' combines the melodic side and the general force of the Scandinavians in an exciting manner. Nevertheless, it happens too often that the band stops fighting when the battle is only half won. Murderous riffs are missing and unforced errors add insult to injury. It’s actually no big deal that 'Abyss of Time' is nothing else but a useless intermezzo. But located on the fifth of nine positions, it significantly hurts the flow of The Coming of Chaos significantly. Moreover, the title track with a playtime of more than 13 minutes is rather a waste of time than a regular song. It seems as if the band wants to teach us that the chaos has arrived. Thus, the dudes pressed it into the strangest available tones. Honestly, this sound collage just sucks and generally speaking, there are no chaotic elements in Sacramentum's sound.

The vocals are raw, of course, but they lack charisma and any kind of individuality. In addition, the material is characterised by an almost complete absence of atmospheric elements. I know this is not a pure black metal work. It connects elements of the unholy trinity thrash, death and black metal. Nonetheless, I miss a spooky, infernal, nightly or whatever aura. Sacramentum’s songs appear to me like songs of a rock band that have accidentally become too harsh. There is no outburst of energy, no true devotion to the darkest side of metal and no compositional shrewdness.

Yes, the more or less conventionally designed songs (number 1 to 4 and 6 to 8) do not suffer from major defects, but they also fail to whet the appetite for more. Especially Sweden has so many bands that are able to link the sonic form of Armageddon with the most bizarre, most monumental or most morbid melodies - Dissection, Necrophobic and so on. Sacramentum follows these legends with a considerable gap. Perhaps they did so because they had remarkable clairvoyant powers and intended to avoid the Covid 19 shit already at the end of the 20th century? Who knows? The only thing I know is that Sacramentum published an under-average work in 1997. So now it’s time for my personal interpretation of the chaos theory. It does not need more than “Mirror Black”, Necrophobic’s advance track of their new album, to listen to brilliant music again.

Rating: 5.6 out of 10

Review by Felix on October 4, 2020.

The chaos theory says that smallest changes of the initial conditions can lead to very big impacts on the whole system. It is a fact that the wing-beat of a butterfly is able to cause a hurricane. The Coming of Chaos, released by Sweden’s Sacramentum in 1997, confirms the theory, but unfortunately exactly the other way round. The entire work sounds as if slight changes during the song-writing process could have resulted in a much better full-length.

Sacramentum’s album shares the destiny of a couple of outputs of Lord Belial. On one hand, it does not appeal to the mainstream. On the other hand, it cannot really suppress its weakness for melodies that take a lot of the otherwise attainable vehemence of the material. Admittedly, from time to time the more or less melodic touch of the compositions helps them to develop a powerful yet catchy appearance. 'Portal of Blood' combines the melodic side and the general force of the Scandinavians in an exciting manner. Nevertheless, it happens too often that the band stops fighting when the battle is only half won. Murderous riffs are missing and unforced errors add insult to injury. It’s actually no big deal that 'Abyss of Time' is nothing else but a useless intermezzo. But located on the fifth of nine positions, it significantly hurts the flow of The Coming of Chaos significantly. Moreover, the title track with a playtime of more than 13 minutes is rather a waste of time than a regular song. It seems as if the band wants to teach us that the chaos has arrived. Thus, the dudes pressed it into the strangest available tones. Honestly, this sound collage just sucks and generally speaking, there are no chaotic elements in Sacramentum's sound.

The vocals are raw, of course, but they lack charisma and any kind of individuality. In addition, the material is characterised by an almost complete absence of atmospheric elements. I know this is not a pure black metal work. It connects elements of the unholy trinity thrash, death and black metal. Nonetheless, I miss a spooky, infernal, nightly or whatever aura. Sacramentum’s songs appear to me like songs of a rock band that have accidentally become too harsh. There is no outburst of energy, no true devotion to the darkest side of metal and no compositional shrewdness.

Yes, the more or less conventionally designed songs (number 1 to 4 and 6 to 8) do not suffer from major defects, but they also fail to whet the appetite for more. Especially Sweden has so many bands that are able to link the sonic form of Armageddon with the most bizarre, most monumental or most morbid melodies - Dissection, Necrophobic and so on. Sacramentum follows these legends with a considerable gap. Perhaps they did so because they had remarkable clairvoyant powers and intended to avoid the Covid 19 shit already at the end of the 20th century? Who knows? The only thing I know is that Sacramentum published an under-average work in 1997. So now it’s time for my personal interpretation of the chaos theory. It does not need more than “Mirror Black”, Necrophobic’s advance track of their new album, to listen to brilliant music again.

Rating: 5.6 out of 10