Review: Lilla Veneda “Primordial Movements”

On the last day of winter this year (a leap day that only comes around once every four years) Polish band Lilla Veneda released their third studio album Primordial Movements, without the help of any major record label. In doing so, they symbolically put an end to winter’s hardships, channelling all accumulated aggression into these forty minutes of atmospheric blackened death metal. The album carries a progressive edge with hints of harmonious melodies, creating an strong yet refined listening experience.

Lilla Veneda hails from Wrocław, the capital of Silesia in western Poland, and their name holds profound significance. It comes from Juliusz Słowacki’s 1839 poem “Lilla Weneda”, which tells the tragic story of the tribe of Weneds waging war against the Lechites. This poetic, semi-mythological work resonates with the band’s conception, incorporating Slavic folkloric motifs without indulging in overt ethnic aesthetics, instead focusing on solid death/black metal. Each album sees them absorbing more diverse influences, moving beyond straightforward genres to fully express their emotions.

In general, they rarely treat us with new albums, even though they’ve been around for 15 years, with six-year gaps between studio releases. The musicians are all experienced, each involved in various heavy music projects, ranging from primitive thrash and black metal to modern metalcore, so it’s no surprise that they convey this variegated range of ideas into the Lilla Veneda project. While Primordial Movements might not sound experimental, it’s certainly not traditional or predictable. The musicians themselves aptly chose the word “visionary” to describe their new release. It’s an expressive album where emotions take precedence over technicality – although technically, it’s also strong. There’s a subtle futurism to it, despite minimal use of synthetic elements. While they have one foot firmly planted in the old school and orthodox metal realm, their gaze is set higher, transcending boundaries and even, to some extent, logic. Yet, light is scarce here – there’s a deep ambiance of melancholy and suffering, mystique and mystery, darkness and fear.

The album opens with the chaotic blackened death metal track “Fury Dimension”, radiating a tense atmosphere infused with melodies. Overall, their blackened death metal is aggressive and energetic, forming the foundation of Primordial Movements. It leans more towards blackened death than war metal, emphasizing the dominance of death metal within their sound. This style was notably popularized by their compatriots Behemoth, who nearly brought it into the mainstream (although they weren’t the first, just the most prominent). “Iron-Black Pestilence” with synthetic elements, at times resembles industrial black metal with an avant-garde touch. The title track “Primordial Movements” shifts into symphonic territory with melodic death metal influences, exuding modern vibes. Most of the album is mid-tempo, but at times it zooms to speed/thrash metal intensity. “Colossi” is melodic and light, with an opening hinting at psychedelic and space music. The final song “Pytasz co w moim życiu” features lyrics by the Polish poet Jan Lechoń, whose life was also tragically marked. This song is nearly a ballad – melancholic, deep, melodic, and fatalistic, though not without a faint echo of hope, suggesting a future chance for redemption. This closing track encapsulates the album’s essence in a condensed form.

The Polish extreme scene is currently crowded with a multitude of diverse bands, making it difficult to stand out – especially without contracts with major labels, as is the case for Lilla Veneda. However, the number of listeners isn’t as crucial as who listens to it; it’s about reaching those who resonate with the message the band bequeaths. What truly matters is the interaction – how deeply it affects the listener, what emotions are stirred, and whether it inspires change, deliverance, or personal growth. Primordial Movements isn’t a shallow musical piece; it’s designed to provoke introspection and emotional depth. Enhanced by Anna Sobczak’s artwork in purple/pink hues, which reveals inner fears and the personal search for transcendence, this third album from Lilla Veneda makes it clear that for them, progress is more essential than staying static. The album encourages listener to journey alongside them, feeling both the weight of dread and the search for self-discovery.