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Caïna – Christ Clad In White Phosphorus album review

North England’s ever-morphing BM outfit Caïna turns up the terror on new album

At Caïna’s core beats a restless heart. Never content to enter a creative stasis, multi-instrumentalist Andrew Curtis-Brignell, now permanently backed by vocalist Laurence Taylor, has shifted focus again following 2015’s concept-based Setter Of Unseen Snares.

Christ Clad In White Phosporous is a much more scathing invective than what’s gone before it. Deafening industrial noise manipulations and harsh power electronics feature heavily throughout, as Caïna incorporate noisy influences from Whitehouse to Pharmakon into their ever-changing black metal assault.

All of the melodic former post-rock pleasantries have been disposed of remorselessly. As a result, what you’re left with is a much bleaker sound, closer in line with Nachtmystium or Anaal Nathrakh than anything resembling what’s popular in post-BM these days. This kind of nihilistic sonic terrorism, even on the grim post-punk of the title track, really suits Caïna. However, the noise-based tracks soften the white-hot intensity found elsewhere and the electronic elements could have been integrated more cohesively to maintain this. Caïna could be on to something special if they can unite both austere styles in complete disharmony going forward.