Inconcessus Lux Lucis is the ugly child of assaulting music that reaches out of the frame and pulls in the listener, dragging them down further and further into this hellish depiction of fire and fury. Their newest record, The Crowning Quietus is a constant belligerent beating that is frantic from the start. It draws a final conclusion of a killing blow disguised as the growling and howls of instrumentation, the rough cutting vocals, and the atmosphere that feels ripped straight from the worst nightmares.
From the rattling shackles and devil-worshipping chants of “With Leaden Hooks And Chains”, Inconcessus Lux Lucis makes a presence known that strays from the straight-forward attack that will be present in just moments and builds an introduction. A desirable set-up that takes the listener in with a fondness for the deader things in life, a place of uncertainty as Inconcessus Lux Lucis stays unconventional and adaptable through each track. The way they move suddenly into “Amour Rides Upon Midnight” is a display of strength as the instruments start to flood and becoming a drowning pool of noise. It is a theme that carries well throughout The Crowning Quietus which shines upon the danger and the overpowering sound. Most of the record is filled with relentless double-pedal work on percussion, the vocals, and the guitar that is being handled from WSJ. There is then also the electric bass which is handled by ALJ and has this overbearing amount of weight behind it. The bass never truly comes through as a foreground instrument in Inconcessus Lux Lucis, but is instead used as a backing piece of transportation for each track. It carries the direction behind the other instruments and shakes well as a cranking piece of the puzzle.
Even as The Crowning Quietus continues to pound away, it makes an effort to take slight breakdowns which act as moments of refraction where the sound is being transferred from one instrument to the other. Creating a sense of depth behind the sound of Inconcessus Lux Lucis is where the band begins to illustrate a sense of professionalism behind their overall sound. The mixing and mastering that was done by Tore Stjerna at Necromorbus Studio is outstanding and really gives justice to the envisioning of what just some of Inconcessus Lux Lucis’s potential truly is. It is the layering of sound that makes the record feel so full and truthful. It is immensely harsh and critical at points, but the damaging nature is empowering and takes a certain amount of stress behind the style of The Crowning Quietus.
But it is the final track that takes a complete shift into different territory and becomes almost an entirely record altogether. “Fever Upon The Firmament” begins as the other tracks before it, but leads a transition of sorts where the guitars and vocals suddenly become cleaner than previously stated. The track acts like another band wrote and recorded the final track as it is performed with such a different stride than originally approached on in The Crowning Quietus. It takes a note from the transitioning effects on the record and flows well into the different style while never losing touch of what Inconcessus Lux Lucis began with. It still has the underlying hint of assertive and aggressive style, but tones it down and becomes more approachable with the final moments of The Crowning Quietus.
Inconcessus Lux Lucis is deadly, striking from both far and close ranges with a focus on illustrating a sense of dread behind their music. It is the brick-bodied layout that becomes a stance on the tracks present and create a hanging feeling of suspense over The Crowning Quietus. The music is lovely from a productive standpoint and shows signs of immaculate talent. there is nothing holding back Inconcessus Lux Lucis as they become a powerhouse with each release, showcasing a sense of adaptability and prowess behind The Crowning Quietus.