Akem Manah -Threnodies

 Akem Manah is a metal band whose origins began in Belgium, forming in 2007. Their latest release, “Threnodies,” is their second full-length album; they have also released an EP.   

Doom, especially of the Gothic persuasion, is probably the best answer I could give to the question, “Hey dude what would you call Akem Manah?”  However, that’s a scenario that would never happen because I don’t really have friends in so-called ‘real’ life. 

My conversations are usually regulated to children and cats (special note:  my own children and cats, I don’t just go outside and capture these things randomly) and neither of these types of beings care about metal.  Oh shit, I think my kids and cats might be posers.  Oh well, I’m getting off track here.

Akem Manah’s style is fluid and dynamic, mixing in a variety of genres so simply calling them doom doesn’t tell the whole story.  Their influences are just as varied and listening to this album, it is clear they don’t wish to emulate anyone.  Akem Manah is, simply put, Akem Manah.  That is more than enough.  

This is the part where I usually call out every band member and what other projects they have but, to be honest, I really don’t have the time.  I thought this album would be released in May but the digital came early so I’m knocking this out.  Do your own research, nerds. But don't use AI because it will tell you something stupid like the band is made of cheese or something.

There is a horror vibe permeating the atmosphere across its 10 song, 61-minute runtime. It is quite engrossing and makes me question why other bands, doom or otherwise, don’t incorporate this feeling of sickening despair more often.  So many people describe doom as depressing and cavernous (I’m guilty of this as well, don’t worry) but “Threnodies,” is something else, something more than “sad boi despair.” 

The production and mix have been finely tuned to get the band’s point across.  It definitely isn’t clean, but it is open enough to catch the many details within the songs. The keys, which define a large portion of the album’s sound, envelop the songs without overtaking them.   The other instruments, from the bass to the violin, have more than enough room for their services to be offered and appreciated.   

The songs each tell a story of the human condition, an unraveling of what makes us who we are as we stare into the abyss.  Is the only way to face such deep, archaic evil and unfathomable mysteries is to become them?   I don’t know.  I’m not smart.  I just think this album is really cool so I’m going to talk about a few of my favorite songs.  

The album opens with the intro song “The Inevitable Fate of Francis Cobb.”  I absolutely hate 79% of intros as they are usually pointless, self-indulgent turd piles that do nothing except clutter an already long runtime or add filler to a shorter runtime because someone was too lazy to write a full-length song.  However, this album tells stories, so this particular intro is welcomed as I view it more as a prologue.  “The Inevitable…” is more than a minute of silence, ambient noise, or whatever else pointless bullshit is thrown into intros these days.  This is a fantastic opener with layered instrumentation that flows straight into the next song. 

That song is “The End of Earnest Hollow.”  Sucks to be him, but the song is a stark representation of what this album is all about.  I like that it wastes little time in getting started; by the time the minute mark has passed, the entire band is in full swing with this slow-moving dirge.  The riffs are peppered by keys and lead guitar, while the drums keep it all moving.  Slower music has to have flow and there is much of that to find here.  The clean are deep and a little wispy, a powerful emotive cadence that lines up with textures and melodies.  The later half of the song introduces death growls, equally as impressive.  I love how well the bass pops out from behind the rhythm too.  

It isn’t all electric fury either, as evident from the clean intro in “The Journey of Nathaniel Johnson.”  The bass sets up an unsettling vibe; one the other instruments make use of as well.  The sense of dread is even urgent, especially as the song picks up tempo and the rhythm guitars join the fray.  The drums hammer it all in, a cacophony of horror that swirls and stalks to a brutal mid-section.  The solo at the 5-minute mark is great, making sense in context of the song and deftly moving in and out of both atmospheric and heavy passages.  

“The Sleep of Eve Saldana,” is one of my favorites on the album.  The opening guitars are drenched with Gothic melancholy and more infectious than they have any right to be. The melodies are delicate but fuse to the other elements, adding an elemental weight that keeps the song on a strong foundation without feeling too floaty in its despair.  The middle passage is somewhat regal, a nice surprise to be found among the bleak elements.  

Special thanks to Mr. Dunn for his sacrifice because “The Demise of John Dunn” is another one of my personal favorites.  The synergy between the vocals and instruments is the highlight–this song moves as one fluid moment.  The drums are atmospheric, a feat that is hard to pull off. If that isn’t impressive enough, then maybe the final half of the album will leave a mark with its kick ass solo, raw blackened vocals, and end dirge of vibrantly dark instrumentation.

Akem Manah’s “Threnodies,” is a musical story book of sorts that will impress a lot of people even if they normally stay away from anything under the doom umbrella. The album’s ability to successfully represent its themes both musically and lyrically is a consistently engrossing experience.  Highly recommended. 

Rating: Excellent