Article by Lance Viggiano.
Veneror create long, flowing, compositions in the style of Sacramentum which carry a melancholic but sinister emotive pallet through melodious arpeggiated twin guitar harmonies. Structurally these songs cycle in between two or three motifs yet eschews a sense of heightened dynamics while coarse vocals ride atop giving a sense of continuity rather than circularity. This is further reinforced by the chromatic development which carries itself into reprieves which close each section with sparsity before jaunting into the next. The resultant unbroken sequence of phrases is not unlike what Revenant would use to great effect on their infamous and only full length album.
Percussimus Foedus cum Morte is the music of grey days where the horizon is twisted by the tendrils of clouds reaching towards the earth to pull away remaining warmth; leaving a chill so fraught that bones of once lush forest beg to be burned. The verboten pleasure of this record’s melodies reflects the bliss which accompanies the stillness of death. A state sought after in life but only achieved by its extinguishment; the snow suffocated entropic peaks of winter exhaust desire, leaving only silence which persists until the turn of the solstice lures the world back into a state of bustled suffering.
Despite being stylistically derivative Veneror overcome the limitations of overfamiliarity through the conviction and skill with which the entity assembled its contents. The consistency of vision achieved here is commendable and owed to the patient thematic development unfolding during the course of each track. The resultant aesthetic experience is orthogonal to the well-traversed paths of northern European black metal which are marked by solidified precipitated sediment. Percussimus Foedus cum Morte’s trajectory leads one over ground which has only been touched by the quivering paws of foxes and their prey which exists in the spaces between its influences.