Covenant – “Nexus Polaris” (ESP)

Nagash (voz/bajo), Blackheart (guitarras), Astennu (guitarras), Hellhammer (batería), Svard (piano/sintetizador) and Sarah (coros) componen esta banda all-star, ya que sus miembros proceden de grupos tan renombrados como Cradle of Filth, Mayhem, Dimmu Borgir o Arcturus. Considerando el background musical de los miemnbros de la banda, fácilmente puedes adivinar lo que encontrarás detrás de la preciosa portada de la leyenda viviente Andreas Marschall. Y tienes el 99% de probabilidades de haber acertado en tu pronóstico: black-dark metal melódico y sinfónicoide en la vena de Old Man’s Child o Borknagar. Después de su razonablemente aclamada demo “From The Storm Of Shadows” y después de esparar 2 años para que la discográfica Mordgrimm editara en 1995 su primer CD “In Times Before The Light”, ahora Nuclear Blast les saca este “Nexus Polaris”, una pieza de estilo metálico con toques orquestales (como en “Dragonheart”), bellas lineas de piano (como en “Bizarre Cosmic Industries”), voces corales femeninas (como en “Planetary Black Elements” o en “Chariots of Thunder”) e influencias de Heavy Metal clásico, sobretodo en los solos.

Si tus bandas favoritas son Suffocation o Immolation, tirarás el dinero porque este CD te aburrirá, pero si por el contrario te encantan Old Man’s Child o Borknagar, entonces este álbum es altamente recomendable.

Covenant – “Nexus Polaris”

Nagash (vox/bass), Blackheart (guitars), Astennu (guitars), Hellhammer (drums), Svard (piano/synth) and Sarah (choruses), compose this all-star band featuring members from so notorious bands such as Cradle of Filth, Mayhem, Dimmu Borgir and Arcturus. Taking in consideration the members’ musical background you can easily guess what lies behind the precious album’s cover designed by living legend Andreas Marschall. And you are 99% likely to be right at your divination: melodyc sympho dark-black metal in the vein of Old Man’s Child or Borknagar. After the reasonablely acclamated demo “From The Storm Of Shadows” released in 1994 and two years waiting for the publication of their first CD through british label Mordgrimm, now Nuclear Blast allows them to edit their highly technical, non-brutal yet aggressive Metal style, a style adorned with several touches of classic 80s’ Heavy Metal influences (mostly in the solos), orchestral arrangements (as in “Dragonheart”), grandiloquent female background choruses (as in “Planetary Black Elements” or “Chariots of Thunder”) and beautiful piano lines (as in “Bizarre Cosmic Industries”). If your fave bands are Suffocation or Immolation you won’t like this CD, but if you love Old Man’s Child or Borknagar then “Nexus Polaris” is a highly recommendable album.

God Of Emptiness – Indepth analysis

This is not a review of the “Covenant” album, but an indepth analysis of the album’s closing track “God of Emptiness”:

TITLE : “God Of Emptiness”
I. “The Accuser”
II. “The tempter”
LENGTH : 7’ 14”
ALBUM : “Covenant”, 1993
ARTIST : Morbid Angel
AUTHORS : Music – Trey Azagthtoth
LYRICS – David Vincent
EDITION : Published by Cutha Hymns/ASCAP and God Of Perverse/ASCAP
DETAILS : It is included as the album’s last song, situated after the tetric instrumental track “Nar Mattaru”, whose “melody” is based upon sound effects. There is no lap of time between “Nar Mattaru” and “God Of Emptiness” itself, so the former can be interpreted as the intro for the latter, as a preparatory introduction for the blast of “God Of Emptiness”.


“God Of Emptiness” is divided into two parts, very different one from the other, but with no lap in-between.

The first part is titled “The Accuser” and is composed of several heavy and slow riffs, quite complicated at its execution and its tempo yet simple at their appearance. The vocal aspect brings us lead singer David Vincent using two different vocal styles: One, melodic yet guttural voice; two, deeply-performed spoken voice, seeming to be performed in the background.

The second part is titled “The Tempter” and is completely different: Its music is done by a guitar-based melody, a riff repeated again and again, while the growling voice just sings also again and again two simple sentences (Vid. lyrics) to the end, before which the mixing volume goes diminishing more and more until absolute silence.

Therefore both parts are quite different, not only concerning their qualitive aspect (Many different and weird guitar riffs, large lyrics and a complicated drumming in the first part while there is a total simpleness in all elements -music, guitar, drums, vocals and lyrics- in the second part) but also their quantitive aspect (The first part is by far longer than the first one).


“God Of Emptiness” musts be analyzed in two parts, corresponding to the song’s two musically and lyrically-defined parts: “The Accuser” and “The Tempter”.

“The accuser” does this : to accuse. The lyrics charge God of having lied, of having fulfilled people with oppression and of having received, as reward from mankind, glory. And contraposes the song’s spirit (“I offer fantasy”) attitude to God’s (“And you, Creator, blind of envy”).

In “The Accuser”’s chorus, David Vincent brings two basic ideas: Authorizes children and women to get near him while man stands behind (mmh…!) and, in the other hand, makes himself appear as the personification of Evil or simply a Devil-sent : The snake (one of the most known symbols of evil), slithers, as the cat stalks to bet the mortals’ soul and thus granting them freedom by their emptiness.

In “The Tempter”, the simpleness is confronted to the complexity of “The Accuser”.This part’s lyrics are just two sentences, constantly repeated as if the song wanted the listener to bow before it.


The “god of emptiness” concept is based upon a XIX century’s philosophic thought that defended the importance of the human being over the one of the so-called God. In fact, its English (original) version it was called “the philosophy of the god of emptiness”.

Besides, lyrics-mainwriter David Vincent has always been interested in Nietzsche’s philosophy (Check “Covenant”’s credits for details). Needless to say that one of the most importants aspects in Nitzschean philosophy is its anti-Christian thought. In his works, the German philosopher uses to accuse God of having enslaved the Western world and its people by His “true” moral and propugnates a back-to-earth attitude in life that fits perfectly with this song’s lyrical meaning.


I.The Accuser

Lies – And you fill their souls
with all oppressions of this world
and all the glory you receive
So what makes you supreme?

Lies – And your crown is falling
I offer fantasy
And you, Creator,
blind with envy

So let the children come to me
Their mothers love me so shall they
Women, bleeding, ate my gifts
Man was close behind

And like a snake I’m slithering
through my world divine
and like a cat I’m stalking
I’ll take your soul and you’ll be like me
In emptiness, free

II.The Tempter

Bow to me faithfully
Bow to me splendidly

Written by Metallykon