⛧
Infernal Battles (2000)
Deathspell Omega’s Infernal Battles stands as a raw, early step for the band after the end of Hirilorn. The album includes four new tracks and four demo songs, but the difference in quality between the two is glaring. It’s not that reusing material is the problem, but the disparity between the sessions is impossible to ignore. Speculation surrounds the drums, with some suggesting that former Hirilorn drummer Yohann played on the demo tracks, but the new songs sound like they were recorded with a drum machine, despite Shaxul being credited as the drummer.
The album opens with "The Victory of Impunity," charging straight into Deathspell Omega’s signature style—building tension with urgent melodies and raspy vocals that draw comparisons to Gorgoroth's Hat. It’s fast, tense, and driven by raw intensity, but there’s still a noticeable pull from the early days of Darkthrone, especially in the thrash-like riffs. Deathspell Omega hasn’t fully forged their own identity yet, but the mix of influences is already setting them apart from the clone bands of the time.
From there, the album keeps up the speed and aggression, with "Drink the Devil’s Blood" offering a glimpse of what would come in their future recordings, although it feels unfinished here. The same can be said for "Extinction of the Weak," which shifts halfway through from tremolo-picked aggression to more atmospheric open arpeggios. It’s a shift in dynamics, but the song still carries that frantic energy. Lyrically, this is drenched in Satanic themes, yet it would appear that the band turned their back on these early lyrics, as the reissue of this album has most of the lyrics censored—almost as if the earlier material was considered inferior to the more Orthodox style of the band’s later work.
The demo tracks, though low-fi, still hold their own, particularly in "Raping Human Dignity." The raw production is a clear step down from the newer material, but the tremolo-picked riffs and cold atmosphere are unmistakably Deathspell Omega. It’s easy to see why they stand out from the legions of Darkthrone imitators, especially given their ability to balance the minimalist sound with a certain level of skill and conviction. "The Ancient Presence Revealed," however, opens with a riff that sounds suspiciously like Darkthrone’s "Blasphemer" from Total Death. The song then shifts into the tension-filled tremolo that became one of the band's trademarks.
And while Deathspell Omega was still finding their identity, Gorgoroth comes to mind in moments of "Sacrilegious Terror", specifically in how the band shifts from relentless speed to an eerie, almost doom-laden atmosphere. That particular shift echoes "Maaneskyggens slave" in its dynamic movements, even though Deathspell Omega hadn’t fully mastered that style yet.
Overall, Infernal Battles is not the band’s most cohesive or unique work, but it’s a solid start. If you’re a fan of old Darkthrone and Gorgoroth, there’s plenty to appreciate here, and it’s a necessary step in Deathspell Omega’s evolution. It’s clear they were still finding their way, but even at this stage, there’s a raw promise that would eventually come to define their sound.
The album opens with "The Victory of Impunity," charging straight into Deathspell Omega’s signature style—building tension with urgent melodies and raspy vocals that draw comparisons to Gorgoroth's Hat. It’s fast, tense, and driven by raw intensity, but there’s still a noticeable pull from the early days of Darkthrone, especially in the thrash-like riffs. Deathspell Omega hasn’t fully forged their own identity yet, but the mix of influences is already setting them apart from the clone bands of the time.
From there, the album keeps up the speed and aggression, with "Drink the Devil’s Blood" offering a glimpse of what would come in their future recordings, although it feels unfinished here. The same can be said for "Extinction of the Weak," which shifts halfway through from tremolo-picked aggression to more atmospheric open arpeggios. It’s a shift in dynamics, but the song still carries that frantic energy. Lyrically, this is drenched in Satanic themes, yet it would appear that the band turned their back on these early lyrics, as the reissue of this album has most of the lyrics censored—almost as if the earlier material was considered inferior to the more Orthodox style of the band’s later work.
The demo tracks, though low-fi, still hold their own, particularly in "Raping Human Dignity." The raw production is a clear step down from the newer material, but the tremolo-picked riffs and cold atmosphere are unmistakably Deathspell Omega. It’s easy to see why they stand out from the legions of Darkthrone imitators, especially given their ability to balance the minimalist sound with a certain level of skill and conviction. "The Ancient Presence Revealed," however, opens with a riff that sounds suspiciously like Darkthrone’s "Blasphemer" from Total Death. The song then shifts into the tension-filled tremolo that became one of the band's trademarks.
And while Deathspell Omega was still finding their identity, Gorgoroth comes to mind in moments of "Sacrilegious Terror", specifically in how the band shifts from relentless speed to an eerie, almost doom-laden atmosphere. That particular shift echoes "Maaneskyggens slave" in its dynamic movements, even though Deathspell Omega hadn’t fully mastered that style yet.
Overall, Infernal Battles is not the band’s most cohesive or unique work, but it’s a solid start. If you’re a fan of old Darkthrone and Gorgoroth, there’s plenty to appreciate here, and it’s a necessary step in Deathspell Omega’s evolution. It’s clear they were still finding their way, but even at this stage, there’s a raw promise that would eventually come to define their sound.
(22 Sept. 2009)
Sob A Lua Do Bode / Demoniac Vengeance (2001)
Despite the fact that the band had officially been laid to rest following the release of Taste Our German Steel, there was still an abundance of unreleased material that had been recorded for a handful of ill-fated projects. As a result, Moonblood continued to make posthumous appearances. The songs featured on the End All Life / Sombre Records Sob A Lua Do Bode/Demoniac Vengeance split L.P., with Deathspell Omega, were originally recorded in November 1997 and ended up sitting on the shelf for quite a few years before being released. Limited to only 350 copies, this is rare but worth seeking out for the Moonblood material, alone. As for Deathspell Omega, the songs are a little underwhelming and unable to meet the expectations that many may have, going in.
Moonblood starts the L.P. out (and rightfully so) with "Forgotten Spells in the Forests Nocturnal". From the opening moments, the atmosphere is dark, grim and unexpectedly epic. The main riff is a tremolo-picked melody that falls very much in line with the material that was used for the Katharsis split (being recorded during the same session) as well as their second full-length. It has been said many times that this style is very reminiscent of Darkthrone, yet the band manages to inject enough of their own creativity that it may betray their influences but never sounds like a carbon-copy. The melodies are very memorable, while maintaining a cold and sombre feeling. Nearly everything here is done to perfection, showing a very clear understanding of this style of music. The only complaint would have to be the acoustic section at the end, which does not blend in well with the rest of the instruments.
"A Silent Dream of Impurity" begins with a sorrowful intro section that includes a clean guitar as well as an overall epic vibe. Soon, this transitions to a faster tempo of raw and frigid black metal. The riffs flow from one to the next, very smoothly, like a sharpened blade slicing through pale virgin flesh. These melodies do well to carry the listener to another world, leaving behind the mundane existence that curses many in this wretched age. The vocals are filled with hate as the guitars penetrate the fuzz and static of the grim production job.
The next song has a slightly different tone, at first, until the second guitar comes in and adds a layer of bitter cold frost. "Bells of Apocalypse" features some of the most sorrowful riffs, yet the general atmosphere is not as depressive as one might expect, based on the utter contempt and venom being spewed from Gaamalzagoth. Much like the raw sound of the music, the vocals carry a very primitive, harsh feeling as well. There are brief sections with some sort of sound effects added in, including bells and some hellish chanting. This helps add a layer of darkness to the proceedings, though the main riffs were doing a good job already. Late in the song, additional riffs are introduced and they carve through you with no remorse, joined by maniacal howls.
Sob A Lua Do Bode ends with "I Hail the Night", which picks up from where the previous song leaves off. Again, the fast-paced drumming and tremolo riffs are accompanied by the malevolent, raving vocals to create a dark and epic masterpiece of a song. The pace shifts a little, near the middle, but this brief nod to the past soon gives way to blood-curdling guitar riffs that drive you deeper into the foggy night. The atmosphere of this track truly justifies its placement, as it does give a sense of finality and works well to end Moonblood's contributions to this split L.P.
Demoniac Vengeance starts out with "Follow the Dark Path", and while the production is similar to the Moonblood material, it still sounds kind of weak by comparison. The same can be said of the songwriting, as Deathspell Omega was not capable of holding their own with the legends of German black metal. That said, this song is not bad and features some good riffs in the old Darkthrone style, as well. Their approach is a little more derivative, but still possessing a feel that is identified with Deathspell Omega. It sounds as if they were still using a drum machine at the time, though this may not be the case. At any rate, it comes off as a little less natural than some of their other releases from this time period. Shaxul's vocals do not seem quite as intense as usual, either. The riffs do well to overcome any of the potential shortcomings, giving a disturbing and morbid feeling, especially during the slower part that arrives in the middle of the song. One thing that the two bands on this L.P. do share is the ability to create an epic vibe while working with a relatively minimalist type of music.
"Morbid Rituals" bears similarities to some of the songs that would appear on Inquisitors of Satan, though some of the cold tremolo riffs are more sorrowful and epic, in a way. Halfway through, the pace transitions to something more chilling and macabre, making use of open-arpeggio riffs and a slower tempo that allows the atmosphere to become even darker. Fog rises from the damp earth, illuminated by the moonlight, as nocturnal spirits guide you through the darkened graveland and into the forest that lays beyond.
This split L.P. comes to an end with "Yells from the Abyss", though it does not make the same impression as the previous tracks. Some parts sound similar to "From Unknown Lands of Desolation", and it is likely that they were merely recycled and re-worked. As with the other songs, the pace slows down after a few minutes and allows an evil feeling to creep over you. It is a familiar formula, so there is no shame in this, despite the predictability. The thrashier riffs, later in the song, seem out of place and do little to add to the overall composition. In this way, the band fails to go out on a high note and, instead, ends with a whimper.
The Moonblood material is much more essential, just for the fact that it is some of the best stuff that the band ever recorded, while Deathspell Omega's contributions were not as earth-shattering. Two of their three songs were fairly good, but pale in comparison to the mighty Moonblood. This is a case where the two bands featured on a split were a little too far apart, in terms of quality; therefore, the lesser of the two comes off looking worse than they should, perhaps. In the end, it is a solid release and well worth the time to track down.
Moonblood starts the L.P. out (and rightfully so) with "Forgotten Spells in the Forests Nocturnal". From the opening moments, the atmosphere is dark, grim and unexpectedly epic. The main riff is a tremolo-picked melody that falls very much in line with the material that was used for the Katharsis split (being recorded during the same session) as well as their second full-length. It has been said many times that this style is very reminiscent of Darkthrone, yet the band manages to inject enough of their own creativity that it may betray their influences but never sounds like a carbon-copy. The melodies are very memorable, while maintaining a cold and sombre feeling. Nearly everything here is done to perfection, showing a very clear understanding of this style of music. The only complaint would have to be the acoustic section at the end, which does not blend in well with the rest of the instruments.
"A Silent Dream of Impurity" begins with a sorrowful intro section that includes a clean guitar as well as an overall epic vibe. Soon, this transitions to a faster tempo of raw and frigid black metal. The riffs flow from one to the next, very smoothly, like a sharpened blade slicing through pale virgin flesh. These melodies do well to carry the listener to another world, leaving behind the mundane existence that curses many in this wretched age. The vocals are filled with hate as the guitars penetrate the fuzz and static of the grim production job.
The next song has a slightly different tone, at first, until the second guitar comes in and adds a layer of bitter cold frost. "Bells of Apocalypse" features some of the most sorrowful riffs, yet the general atmosphere is not as depressive as one might expect, based on the utter contempt and venom being spewed from Gaamalzagoth. Much like the raw sound of the music, the vocals carry a very primitive, harsh feeling as well. There are brief sections with some sort of sound effects added in, including bells and some hellish chanting. This helps add a layer of darkness to the proceedings, though the main riffs were doing a good job already. Late in the song, additional riffs are introduced and they carve through you with no remorse, joined by maniacal howls.
Sob A Lua Do Bode ends with "I Hail the Night", which picks up from where the previous song leaves off. Again, the fast-paced drumming and tremolo riffs are accompanied by the malevolent, raving vocals to create a dark and epic masterpiece of a song. The pace shifts a little, near the middle, but this brief nod to the past soon gives way to blood-curdling guitar riffs that drive you deeper into the foggy night. The atmosphere of this track truly justifies its placement, as it does give a sense of finality and works well to end Moonblood's contributions to this split L.P.
Demoniac Vengeance starts out with "Follow the Dark Path", and while the production is similar to the Moonblood material, it still sounds kind of weak by comparison. The same can be said of the songwriting, as Deathspell Omega was not capable of holding their own with the legends of German black metal. That said, this song is not bad and features some good riffs in the old Darkthrone style, as well. Their approach is a little more derivative, but still possessing a feel that is identified with Deathspell Omega. It sounds as if they were still using a drum machine at the time, though this may not be the case. At any rate, it comes off as a little less natural than some of their other releases from this time period. Shaxul's vocals do not seem quite as intense as usual, either. The riffs do well to overcome any of the potential shortcomings, giving a disturbing and morbid feeling, especially during the slower part that arrives in the middle of the song. One thing that the two bands on this L.P. do share is the ability to create an epic vibe while working with a relatively minimalist type of music.
"Morbid Rituals" bears similarities to some of the songs that would appear on Inquisitors of Satan, though some of the cold tremolo riffs are more sorrowful and epic, in a way. Halfway through, the pace transitions to something more chilling and macabre, making use of open-arpeggio riffs and a slower tempo that allows the atmosphere to become even darker. Fog rises from the damp earth, illuminated by the moonlight, as nocturnal spirits guide you through the darkened graveland and into the forest that lays beyond.
This split L.P. comes to an end with "Yells from the Abyss", though it does not make the same impression as the previous tracks. Some parts sound similar to "From Unknown Lands of Desolation", and it is likely that they were merely recycled and re-worked. As with the other songs, the pace slows down after a few minutes and allows an evil feeling to creep over you. It is a familiar formula, so there is no shame in this, despite the predictability. The thrashier riffs, later in the song, seem out of place and do little to add to the overall composition. In this way, the band fails to go out on a high note and, instead, ends with a whimper.
The Moonblood material is much more essential, just for the fact that it is some of the best stuff that the band ever recorded, while Deathspell Omega's contributions were not as earth-shattering. Two of their three songs were fairly good, but pale in comparison to the mighty Moonblood. This is a case where the two bands featured on a split were a little too far apart, in terms of quality; therefore, the lesser of the two comes off looking worse than they should, perhaps. In the end, it is a solid release and well worth the time to track down.
(27 Sept. 2011)
Deathspell Omega / Clandestine Blaze split (2001)
By 2001, neither Deathspell Omega nor Clandestine Blaze had fully defined their sound. Deathspell Omega had only released a demo and one full-length (which largely recycled demo material), while Clandestine Blaze had two albums, though the first totally useless. This split, released through Mikko’s Northern Heritage label, came at a time when both bands were still finding their footing.
Side A features Clandestine Blaze, with "Genocide Operation" standing out as the clear highlight. Clocking in at over eight minutes, it’s a slow-burning, Burzum-esque track that builds a cold, mournful atmosphere. The minimalist riffs, paired with the song's haunting progression, create a drained, desolate feeling that lingers long after it’s over. This track showcases the band's potential, capturing a sense of hopelessness and despair in a way that elevates it above the other songs here.
The rest of Clandestine Blaze’s contribution is less remarkable. “Will to Kill” offers some early Darkthrone-style riffs, but it lacks the intensity needed to make it memorable. “Blasphemous Lust” is a derivative nod to Hellhammer/Celtic Frost, but it doesn’t bring anything fresh to the table. While “Raping the Innocent” teases with some intriguing riffs, it ultimately falters, leaving listeners wanting more than it delivers.
On Side B, Deathspell Omega’s “The Suicide Curse” is the standout. It begins with a clear, clean tremolo riff that drives the song, building tension and atmosphere. As the track progresses, the pace shifts, with slow, atmospheric arpeggios giving way to faster tremolo sections, all while maintaining a tight, gripping atmosphere. The song’s clarity and precision make it a standout example of what Deathspell Omega was beginning to evolve into.
The rest of Deathspell Omega’s material is solid but less memorable. “Bestial Orgies” is a step up from their debut, with more refined drumming and sharper riffs, but it’s the second track that truly leaves an impression. “Seal of Perversion,” though a solid track, feels somewhat anticlimactic following the brilliance of “The Suicide Curse.” Its Transilvanian Hunger-esque sound is effective but doesn’t hit as hard as the preceding track.
While this split shows some growth for both bands, only “Genocide Operation” and “The Suicide Curse” stand out as truly essential tracks. The rest, while competent, don’t offer much that hasn’t been done better elsewhere.
Side A features Clandestine Blaze, with "Genocide Operation" standing out as the clear highlight. Clocking in at over eight minutes, it’s a slow-burning, Burzum-esque track that builds a cold, mournful atmosphere. The minimalist riffs, paired with the song's haunting progression, create a drained, desolate feeling that lingers long after it’s over. This track showcases the band's potential, capturing a sense of hopelessness and despair in a way that elevates it above the other songs here.
The rest of Clandestine Blaze’s contribution is less remarkable. “Will to Kill” offers some early Darkthrone-style riffs, but it lacks the intensity needed to make it memorable. “Blasphemous Lust” is a derivative nod to Hellhammer/Celtic Frost, but it doesn’t bring anything fresh to the table. While “Raping the Innocent” teases with some intriguing riffs, it ultimately falters, leaving listeners wanting more than it delivers.
On Side B, Deathspell Omega’s “The Suicide Curse” is the standout. It begins with a clear, clean tremolo riff that drives the song, building tension and atmosphere. As the track progresses, the pace shifts, with slow, atmospheric arpeggios giving way to faster tremolo sections, all while maintaining a tight, gripping atmosphere. The song’s clarity and precision make it a standout example of what Deathspell Omega was beginning to evolve into.
The rest of Deathspell Omega’s material is solid but less memorable. “Bestial Orgies” is a step up from their debut, with more refined drumming and sharper riffs, but it’s the second track that truly leaves an impression. “Seal of Perversion,” though a solid track, feels somewhat anticlimactic following the brilliance of “The Suicide Curse.” Its Transilvanian Hunger-esque sound is effective but doesn’t hit as hard as the preceding track.
While this split shows some growth for both bands, only “Genocide Operation” and “The Suicide Curse” stand out as truly essential tracks. The rest, while competent, don’t offer much that hasn’t been done better elsewhere.
(22 Sept. 2009)
Inquisitors of Satan (2002)
Inquisitors of Satan is the second full-length album from Deathspell Omega, though it might be more accurate to consider this their first proper L.P. considering the fact that the previous album consisted of four new songs and then several demo tracks. Deathspell Omega made quite a name for themselves through the release of the previous album, as well as a series of splits they did with Clandestine Blaze, Mütiilation and Moonblood. If anything will establish a band as one to keep an eye on, this certainly did the trick. In each of these cases, it was as if the other bands featured on the split as endorsing these guys, which probably helped get their name out there and to earn them a bit of respect. Released in May 2002, on Northern Heritage, Inquisitors of Satan stands as a tribute to the first era of this band... an era which some prefer.
I heard of this band for some time before actually checking them out. It wasn't until the release of the Kenose E.P. that I actually saw a Deathspell Omega album in a record store, so this was my first exposure to the band. I knew practically nothing of them, as I'd never even bothered to research them online. It didn't take long to realize that Mikko Aspa, of Clandestine Blaze, was handling the vocal duties. At any rate, I was interested enough in what I heard to seek out more. The first album that I purchased was Inquisitors of Satan, since it appeared to be the first true full-length (after doing a little reading). This became the album from which I derived my opinion of this band, and it's still the first thing I think of when I hear the band's name. It also possesses some sentimental value as it arrived in the mail on a very significant day for me. They've gone on to create some decent music, but I don't think any other album bears the consistency that this one does. To this day, it remains my favourite and it's the single album from them that I most recommend to others.
"From Unknown Lands of Desolation" starts as if it's already in the middle of something, in a way. It's similar to movies that begin with a dramatic scene that will later be explained. The fast drums and tremolo riffs work along with the possessed vocals to create a sense of tension and chaos. This is the only way that I can really describe the guitar riffs of this period of the band's existence. The tempo alternates from blindingly fast, in the Transilvanian Hunger vein, to something a little more catchy. After a couple minutes, the riffs transition to something with an increased sense of urgency. One gets the feeling that it is building toward something dreadful and apocalyptic. This is certainly good music for the end of the world.
"Desecration Master" begins with a catchy riff, sounding almost like a sped-up Celtic Frost riff. It soon speeds up a bit more, though not matching the intensity of the previous tracks. There are also some dissonant arpeggio riffs thrown in, adding to the obscure feeling conveyed by the music. Lyrically, the song keeps within Satanic and anti-human themes. For some reason, the band considers their earlier lyrics to be too immature or sub-par, as the reissues don't include them. This comes off as a little pretentious, as there's nothing wrong with the lyrics, at all. One doesn't always need a thesaurus and a bible when writing lyrics. Song lyrics need not always read like a research paper. Simplicity is, sometimes, underrated.
"Succubus of All Vices" features one of the best riffs on the whole album. It maintains the chaotic spirit that is prevalent in the rest of the songs, but this one possesses a sorrowful feeling that bleeds through the hatred. The pace shifts, a minute or so in, and the mournful atmosphere becomes more overpowering. The cold tremolo riffs produce a melancholy aura that haunts your mind. This song has to stand out as one of the most dynamic and well-structured of the band's career. This memorable song bears some epic qualities, taking you on a blackened journey.
The title track begins with a more relaxed feeling, being far less intense than the previous song. The speed picks up a little, but it's nothing too extreme. This one is a little more melodic in nature, at times. The tremolo riffs are clear and nicely contrast the raw vocals. Oddly enough, I recall thinking this band had to be Finnish when I first got this album, since it reminded me of Horna and Sargeist, in some way. I suppose it's natural that the share some characteristics since they were influenced by the same handful of Norwegian bands.
"Decadence" is the final song, and it may very well be the most epic song on the album. It starts with a slow pace that serves to create a desolate atmosphere. After a couple of minutes, chaos is unleashed as the song speeds up, transitioning back to the tremolo riffs and blasting drums. The guitar melodies in this song are, by far, some of the best of this band's career. The tension has increased to such an extent that you feel your soul being pulled from all directions, slowly tearing apart. This is the feeling of being consumed by the chaotic forces beyond. However, before you are torn to shreds, the pace slows back down and a morbid feeling falls over you. Your spirit becomes disconnected from your body, floating above as your corpse falls into a fresh grave. The end is here. You are free.
I heard of this band for some time before actually checking them out. It wasn't until the release of the Kenose E.P. that I actually saw a Deathspell Omega album in a record store, so this was my first exposure to the band. I knew practically nothing of them, as I'd never even bothered to research them online. It didn't take long to realize that Mikko Aspa, of Clandestine Blaze, was handling the vocal duties. At any rate, I was interested enough in what I heard to seek out more. The first album that I purchased was Inquisitors of Satan, since it appeared to be the first true full-length (after doing a little reading). This became the album from which I derived my opinion of this band, and it's still the first thing I think of when I hear the band's name. It also possesses some sentimental value as it arrived in the mail on a very significant day for me. They've gone on to create some decent music, but I don't think any other album bears the consistency that this one does. To this day, it remains my favourite and it's the single album from them that I most recommend to others.
"From Unknown Lands of Desolation" starts as if it's already in the middle of something, in a way. It's similar to movies that begin with a dramatic scene that will later be explained. The fast drums and tremolo riffs work along with the possessed vocals to create a sense of tension and chaos. This is the only way that I can really describe the guitar riffs of this period of the band's existence. The tempo alternates from blindingly fast, in the Transilvanian Hunger vein, to something a little more catchy. After a couple minutes, the riffs transition to something with an increased sense of urgency. One gets the feeling that it is building toward something dreadful and apocalyptic. This is certainly good music for the end of the world.
"Our skies are forever black,The next song, "Torture and Death", begins in much the same way as the previous song ended. Of course, one can make another Darkthrone comparison by stating that several of the songs may seem quite similar to those who don't bother to actually listen. Once you do, it is easy to differentiate the various melodies, though they may be played in a similar manner and maintain the same speed. Shaxul's vocals still sound like Hat, of Gorgoroth, and his style fits the music so much better than Mikko. I am a fan of Clandestine Blaze, but I do feel that Deathspell Omega would have benefited from retaining Shaxul's services.
Here is no signs of life at all,
For burning spirits we are,
Consuming your small universe,
Slowly but surely"
"Desecration Master" begins with a catchy riff, sounding almost like a sped-up Celtic Frost riff. It soon speeds up a bit more, though not matching the intensity of the previous tracks. There are also some dissonant arpeggio riffs thrown in, adding to the obscure feeling conveyed by the music. Lyrically, the song keeps within Satanic and anti-human themes. For some reason, the band considers their earlier lyrics to be too immature or sub-par, as the reissues don't include them. This comes off as a little pretentious, as there's nothing wrong with the lyrics, at all. One doesn't always need a thesaurus and a bible when writing lyrics. Song lyrics need not always read like a research paper. Simplicity is, sometimes, underrated.
"I need to see and feel humans suffering,The more straight-forward approach returns on "Lethal Baptism". Worth noting is that the overall sound gives the impression of being raw, though it sounds quite polished when comparing it to old Darkthrone, for example. It's, somehow, raw and clear at the same time. The guitar sound is relatively sharp, but slightly dulled.
Eyes full of fear imploring my mercy"
"Succubus of All Vices" features one of the best riffs on the whole album. It maintains the chaotic spirit that is prevalent in the rest of the songs, but this one possesses a sorrowful feeling that bleeds through the hatred. The pace shifts, a minute or so in, and the mournful atmosphere becomes more overpowering. The cold tremolo riffs produce a melancholy aura that haunts your mind. This song has to stand out as one of the most dynamic and well-structured of the band's career. This memorable song bears some epic qualities, taking you on a blackened journey.
The title track begins with a more relaxed feeling, being far less intense than the previous song. The speed picks up a little, but it's nothing too extreme. This one is a little more melodic in nature, at times. The tremolo riffs are clear and nicely contrast the raw vocals. Oddly enough, I recall thinking this band had to be Finnish when I first got this album, since it reminded me of Horna and Sargeist, in some way. I suppose it's natural that the share some characteristics since they were influenced by the same handful of Norwegian bands.
"Decadence" is the final song, and it may very well be the most epic song on the album. It starts with a slow pace that serves to create a desolate atmosphere. After a couple of minutes, chaos is unleashed as the song speeds up, transitioning back to the tremolo riffs and blasting drums. The guitar melodies in this song are, by far, some of the best of this band's career. The tension has increased to such an extent that you feel your soul being pulled from all directions, slowly tearing apart. This is the feeling of being consumed by the chaotic forces beyond. However, before you are torn to shreds, the pace slows back down and a morbid feeling falls over you. Your spirit becomes disconnected from your body, floating above as your corpse falls into a fresh grave. The end is here. You are free.
(22 Sept. 2009)
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