A Rebuttal to Gabe Kagan’s Review of Ygg Huur

I’ll start with a caveat, so people don’t get the wrong impression. I think it is perfectly reasonable for someone to give Krallice, and Ygg Huur in particular, a chance, yet come away with nothing of worth. If it doesn’t speak to you, then it doesn’t speak to you. Heck, it doesn’t really speak to me. But it is intellectually dishonest to coach this criticism in factually incorrect statements just to give your criticism weight. Say it like it is: you don’t like it. Don’t give some faux analysis filled with nonsensical hyperbole.

You can go read the full review made by Gabe Kagan here. I’ll pull out the most egregious quotes and give a rebuttal.

“Every second of Ygg Hurr takes on a different meter, rhythm, tempo, tonality, and so forth.”

Let’s ignore the fact that you wouldn’t be able to tell if these things were true, and get to the part where they are patently false. There are certainly bands that take the approach of complicated time and tempo changes, but arguably early death metal classics do this more than Ygg Huur.

Take the first minute of the first track. It consists almost entirely of quarter notes and eighth notes with some half notes near the end of the minute mark. Here’s roughly the sheet music (I couldn’t hear exactly which guitar had which part due to the closeness of the registers and the distortion, and the very end notes might be slightly off). There has been no simplification:

Screenshot (15)

This exact idea repeats many times with slight changes in texture and embellishment. How someone could call this strange rhythm is beyond me. I guess one way to count it would be to alternate 5/4 and 6/4, but this hardly counts as “changing meter” because you could call the whole thing 11/4.

There are no tempo changes. There is one established tonality: a minor. In fact, you’d have an easier time arguing the tonality as too static to be interesting. This track plays like something Ulcerate would do. The only way someone could make the above quote is if they haven’t listened to the album, or they are ignorant about what any of those terms mean.

The meter, rhythm, tempo, and tonality all remain fixed throughout the song. Some of the later songs introduce a little more complication but not much.

“Instead of dwelling on one simplistic idea for an enormous quantity of time, Krallice abandons all their previous concepts like clockwork because it’s already time for the next riff.”

I’ll stick to the first track again since we have a reference for it, although I think many of the tracks follow a similar structure. I’ll give Gabe that some of the motifs presented on the album are not simplistic (though the one I wrote out above is quite simplistic), but Krallice does dwell on these ideas enough for there to be clear development. I actually only hear one riff per song unless there are clear sections, in which case each section only develops one riff.

The first track consists entirely of developing those first two measures I wrote out. When the vocals come in, the parts get elongated, probably to change the focus to the vocals. The sounds that come from those measures are the foundation for the rest of the song. I’m pretty sure nothing in the song is a new idea after those measures. Sure, 3 minutes isn’t an “enormous quantity of time,” but it’s only 2 measures making up that material. They most certainly do not jump around from riff to riff on this album.

“I really need to brush up on my mathematics so I can make a proper reference to deterministic chaos and attractors, but even without such a metaphor it should be apparent that Krallice’s music isn’t very well thought out.”

Again, this criticism is almost the exact opposite of the one that ought to be made. One might be able to make the argument that the music is too well thought-out to have the emotion content of the great classic black metal bands. Look at the sheet music. It is almost perfect traditional counterpoint. You have similar motion balanced with contrary motion. You have anticipations and suspensions. You have an echo between the voices. This doesn’t happen by accident and without planning. It is strange to argue otherwise.

“As a result, Ygg Hurr showcases every idea that Krallice’s members must have thought was even marginally cool, without any cohesive logic or anything in the way of quality filtering.”

I think we’ve sufficiently dealt with this already. Krallice have actually composed quite cohesive songs, and the songs themselves don’t have the smattering of ideas Gabe seems to think. They tend to focus around one or two ideas.