Mavorim – In Omnia Paratus

Band: Mavorim
Album: In Omnia Paratus
Label: Purity Through Fire
Release date: December 25th, 2024
Country: Germany
Format reviewed: High-quality digital recording

One of the most prolific black metal acts in the last decade are without a doubt Germany’s Mavorim. With over 15 releases out so far, their “no-nonsense” attitude and stripped down, old school sound made them a force to be reckoned with. Their latest effort, In Omnia Paratus soon proved itself to be up to the band’s high standards. It’s punishing sound, icy cold guitar tone and vocal performance (which is nothing short of intimidating) without a doubt struck a chord within the audience, inviting them (me included) to revisit this sinister opus.

As the opening of the album, there is the self-titled intro track. The battle drum sequence and war horns set the tone for the carnage about to unfold. The whispery spoken word samples also add to the growing anxiety of the song, while also raising the stakes for the album higher. It also helps reflect the band’s closer attention to detail, which is noticeable even before listening, from the surprisingly intricate album cover.

Als der Menschheit Wille brach is the first proper taste of the music, and simply put, it is a complex, yet upfront composition, with a knack for aggression. Despite being mid-paced, it carries a great amount of strength and rage, which are made obvious by the vocal performance. On the other hand, the guitar riffs are catchy, and there are even solo moments sprinkled throughout the song. There is a clear first-wave influence present, and it works greatly to the music’s advantage, as it helps take the focus away from the ferocity at times. The faint synth effects help complete the soundscape, adding another layer of depth. The bass and drums work in sync to create a fuller, yet still raw sound, that goes beautifully with everything else happening.

Coming up next, Zerfall brings about a punkish drum beat, and the first taste of blast beats from the record, and just at the right moment, I’d say. Along with that, there is a more pronounced use of synth, emphasizing the medieval setting of the record. The guitar and bass follow in a similar faishon to the previous song, yet with much less complexity on behalf of the guitar, which works in advantage of the punkish moments. The vocals include several moments of… I wouldn’t say clean singing, but not full fledged growls either, which I really dig, as they help ground the song into the atmosphere.

Tu’ ich meine Augen zu starts out with yet another synth melody, this time more faint and eerie sounding, which soon moves into a more atmospheric and melodic composition. The guitar work truly shines here, with epic lead moments included, complemented by the still attention demanding vocal performance. It is also where the bass starts to come more in focus, and also where we get a first true taste of clean vocals in the chorus, without sacrificing the harshness of the piece. It seems that the songwriting gets increasingly more complex as the album progresses. Something that I found particularly impressive about this record is how clear the pronounciation of the lyrics is, and how well phrased they are. I assure you, it is no easy feat.

Stählerne Reihen brings back the harshness and the faster moments of Zerfall, moving the album into more sinister territory. In terms of mood, this song feels like a frantic chase through the woods at night, before stumbling across a pile of dead bodies in the middle of nowhere. The more epic guitar touches are an unexpected detail, that took me aback for a good moment, time in which the song resumed its dramatic ways. The drumming is the main focus point, as it dictates everything else going on around it with great precision, while also raising the listener’s anxiety.

An undoubted epic of the album, Ein fahles Ross feels almost triumphant, seemingly out of place with the rest of the album, yet soon brought back on track by a sudden shift in musical direction, the epic, almost narrative clean vocal section from the beginning being replaced by brooding riffs, and particularly menacing notes of synth, along with the trademark raspy, yet not quite as high pitched screams that came to define the album. The two opposing atmospheres, however, blend seamlessly as the song moves towards its conclusion, creating a truly one of a kind soundscape, that I’ve never encountered anywhere else before.

The album continues with what can be considered one of, if not the best song on it, Aller Abart Gloria. It is the perfect blend between melodic and harsh, essentially including the best of both worlds, immersing the listener in the music completely. I love how the synth seems to move the song forward at times, being the main source of melody, before having the same sequence played on guitar, creating a sort of dialogue between the instruments. I also enjoy the shift to a faster tempo, which helps add even more drama to the song by offering a solid base for everything else. The riffing, as well as the vocals, are nothing short of tumultuous, shifting into a variety of musical motifs.

Träume comes with yet another sound shift, being without a doubt the gloomiest song of the whole. The slow, repetitive riffs, along with the simple, yet effective drumming create an almost hypnotic sensation, with the bass adding that much needed element of depth to the composition. The vocals follow suit, providing another instance of a well phrased, narrative performance that lets the emotions of the music flow through. For Mavorim this is a surprisingly emotionally driven piece, whose inclusion proves the band’s versatility. To put it simply, it is the kind of song one would find themselves going back to fairly often. Do not be fooled, however, as the power of the music prevalent throughout the record is as present as ever, working in the song’s advantage.

Coming closer to the end of the album, there is the misanthropic Alles stirbt, which strips away all the emotional sensibilities of its predecessor, leaving behind nothing short of sheer dread, or so it seems. The song doesn’t lack its more traditionally artistic moments, including, as in the case of previous songs, a cleanly sung chorus, which creates contrast with the oppressive atmosphere of the rest of the song. All the elements of the album are starting to come together, thus rendering the closing tracks as the most complex on the whole record.

The final song of In Omnia Paratus is the impressive Der letzten Sonne Untergang. Spanning over 10 minutes, it provides a more than satisfying conclusion to a great album, tying together all the loose musical threads of previous tracks into a dark-as-night musical fabric. Although it may appear not as dynamically charged as its predecessors, at least in the first couple of minutes, it lacks none of the grandeur that came to define the sound of the album, bringing back those emotional sensibilities of Träume. What can I say? There’s nothing more one could want from such a masterful conclusion.

To conclude, it is clear that this album has the band’s abilities on full display, in the best way possible, and it left me wondering what direction will the band pursue with future efforts. But until then, I’m definitely giving In Omnia Paratus several more listens. 9.5/10 by Ioana

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