Review by Alex on September 15, 2018.

The Creeping Unknown released through Sentient Ruin Laboratories, attempted to crawl from the tomb, wander around in the graveyard in broad daylight, take a stroll down the street, grab some coffee from the local cafe, catch a new horror flick in the cinema and take a stroll back to the crypt without anyone noticing or mentioning a single word about the collection of strange occurrences taking place on that day. However, for Noose Rot’s debut Ep it is almost impossible to stay hidden when the music is this good and you burrow influences from other monsters within the underground. Sorry creeping unknown but you’re just not stealthy enough to remain hidden and obscure. Giving an account of something this illicit sounding makes it extremely challenging to exclude the use of hyperbole. Noose Rot’s 2018 EP The Creeping Unknown is 16 minutes of what sounds like a merging of Vastum and Spectral Voice. It sounds phenomenal, has an awesome sense of loudness and is very satisfying for being just 16 minutes in length. 

The Creeping Unknown is death metal that boomshots the listener with heartfelt yaps, ugly snarls, and HM2 pedal craziness, all done with a pinch of doom, hence the reference to Vastum and Spectral Voice. The guitars, vocals and drums are addicting, they are merciless on the ears, the more you listen, the more your senses gravitate towards and beg for it. Though fairly mid paced, The Creeping Unknown does alternate the flow by introducing faster sections and sloth-like moments. If this short ugly slob of tumultuous death metal has cooked up a raving on Bandcamp, one could only imagine the racketing chaos a full length release will incite. 

This is a winning formula Noose Rot has managed to put into effect and by doing so they have earned a slot in my wallet and collection.

Favorite Tracks:

• “Mass Grave Interment”
• “The Creeping Unknown”
• “Bound In A Dark House”

Review by Felix on November 11, 2020.

This quartet called Ossuaire did not need much time after their debut, to say the least. Less than six months after Premiers Chants, the next half a dozen songs forms another typical output from Quebec. You know what you get when it comes to French singing bands from this region and therefore we can keep it short. If you like Forteresse or Délétère, you will also like Ossuaire. But this is not to say that the guys lack individuality. Of course, the stylistic frame is narrow and so I am listening to pretty opulent, constantly flowing tracks that avoid abrupt breaks or experimental follies. The album presents the typical dark, evocative contours of métal noir Québécois. Only short sequences interrupt the terrific maelstroms the band creates. The outro of the comparatively slowly advancing 'L’oiel-sang' aims for a pretty melancholic mood and renounces on guitars. Furthermore, the autumnal atmosphere of the beginning of the quasi-title track shows a calm facet of the band as well. Anyway, these intermezzos do not characterize the album.

Ossuaire are doubtlessly aware of the fact that their approach lies in close proximity to those of their neighbouring competitors and consequently they put all they have into the compositions in order to deliver the best songs of this style. Unfortunately, “Thèmes pour la rébellion” is hardly beatable and the same applies for “De Horae Leprae”. Nevertheless, right from the beginning, Ossuaire try to push back all enemy onslaughts. 'Pestilence Rampante' marks a defiant, fresh and belligerent opener that relies on nearly catchy lines and fast-paced rhythms. Its initial guitar tones ensnare the listener in a matter of seconds and due to the very good substance of the guitar work, there is no wish left unfulfilled. The unholy, commanding voice spreads demonic vibes and fits the musical content very well. The opener is simply fantastic and, even better, the same goes for the second and the third song. They also waste no time for useless pauses – their speedy rhythms and the carefully constructed guitar lines give the monolithic pieces a restless appearance.

The material on Derniers Chants scores with its constantly nightmarish visions which are emphasized by the adequate production. The guitars shape the sound, but the voice does not come off badly and the drums also have found an appropriate place. Even the bass guitar is laudable in this not overly clean mix. This is no production which is looking for a frontal collision with the audience, but it reveals a hinge (or even a proper portion) of fatalism under the surface. I admit that the first MNQ albums were an aha-experience for me and Derniers Chants does not cause a similar effect. However, it would not be fair to interpret this fact to the album’s disadvantage. The crucial factors are the high degree of vehemence, the remarkable quality of the guitar lines, the authentic and sinister spirituality and, finally, the coherent overall approach. And one thing is for sure, one will not find many albums with such a strong, multi-facetted and enthusiastic closer. Rest assured, the storms from Quebec have not yet subsided.

Rating: 8.2 out of 10