When a one-man written black metal project comes into the minds of many listeners, negative thoughts can come with it, especially if the product is genuine. What Caïna provides, however, is the perfect sense of extremity a genre like black metal can be defined as, but throws sprinklings of creativity and moments of beauty over his music.
Caïna is definitively the work of Andrew Curtis-Brignell, who constructs and writes all the instruments for the project, but it wouldn’t work without the role of backing vocalist/electronics Laurence Taylor and bassist Paul Robertson to compliment the bleakness and darkness that Brignell brings to the table.
Laurence gets his time to shine on ‘Extraordinary Grace’, a 12-minute slog of the same repeated and harsh electronic sound over heavily edited and very crackly talking from Brignell, which soon starts to sound like the ramblings of a mad man. Imagine if Ghost Bath and Shining combined to create a band – this is what it would sound like. It’s very challenging music, and this almost gets to the point where it might even be too extreme for the casual extreme metal fan. However, this isn’t at all representative of the record, and only forms part of what makes a challenging album out of ‘Christ Clad In White Phosphorous’.
Another track to take note of is the title-track finale, sounding nothing like the rest of the LP. Removing the sound of the extreme black metal vocals and replacing them with something almost industrial in the vein of a band like Type O Negative, this is quite a jarring and weird way to close the curtains.
Caïna is a monster that can challenge, astound, and dumbfound most listeners, and for a one man project from Manchester to do this globally in the world of extreme metal, is a testament all in itself.
Written by Bradley Cassidy (@bradcassidy170)