So when it does reach the good old insane blast beats- they still make your mind into demonic jelly, but you can better understand what sort of demonic jelly. And the buildup to the blast beats is the first time very exciting.
The blast beats don't get tiring with DsO- constantly intense, erratic, with the guttural vocals which work so well with DsO, half "singing" half narrating in their own Satanic, demented sort of way. With the fantastic EP "Diabolus Absconditus"- the title was rather silly sounding , the guitars are so powerful- but manage to fully encompass the higher notes without compromising from the overall bulldozer of sounds.
That is also a lot because of the drums, which are as always, absolutely mind blowing- an absolute power house like no band I have heard before, and also because the bass is there to truly support the wall of sound which consisted mostly of the raw guitars in previous releases.
DsO manage to show that oh my flying unicorn they can be loud. Oh dear god how loud! And the groove that starts out this song! An absolute epileptic dream, with low guitars chords and this almost Latin rhythm! I swear if I knew how to dance salsa I'd dance to this! With that, the song manages to shift and turn and slide and slither and blast into this great, again more melodic bit, with a fantastic guitar melody, almost just melancholic, and not monstrous and Satanic.
And the bits of ambient in this track- with these tiny bits of piano or synth or whatever it is- just pick on the ear and add great depth. Things return to the weird atmospheric vibe of the first song "The Crackled Book Of Life"- another instrumental affair, which at first somewhat underwhelmed me but is now probably my 2nd favorite after "Abrasive Swirling Murk". A steady beat similar to "Sand" gives out to this epic bass and these wonderfully arranged strings- synths I think but maybe not.
The creepy rising and dropping melodies which again give out to one of the more memorable guitar moments in a DsO. It in eventuality sort of breaks fades out with and in come these dramatic chorus synthesizer which ends the EP with a rather bone-chilling final gasp in a way.
It is safe to say, that DsO are going in a direction that I'm very keen to see them take. Who knows, maybe eventually they'll be on "Top of the Pops"? A favorable shift of sound is more than welcome, finally, to make our ears once again fall into an endless abyss of darkness and death, but an abyss more accessible than ever before.
Beautifully detailed, frightening, and just plain awesome. Yes, Deathspell Omega have gone punk. Yes, they have even pop. In fact, it's been recently announced that Deathspell Omega has been a weekend side project of Blink 's Tom DeLonge, and through some coincidence, it has been misinterpreted as the continuation of a French band of the same name that broke up ten years ago.
After such a cerebral and heavy handed album trilogy about theistic satanism, it's nice to hear Deathspell Omega throw away the evil and sing songs about pretty girls instead.
Jest aside, I can see why Deathspell Omega's latest EP "Drought" has been getting recognition as a change of pace for the enigmatic black metal outfit. They're still the same viciously technical bastards that they've been since their breakthrough "Si Monumentum Other black metal bands I just find so boring, because they're doing something that has already been done times over by someone else, but these guys have forged their own path in black metal, and this certainly shows how different from straight up, raw black metal they are, and how well they do it.
Although I didn't find the first song Salowe Vision very compelling, as I found it rather boring, the second Fiery Serpents blasted my ear drums 'till they bled from all the excellent riffs, changes in tempo, song structure and the amazing vocals from this French band's Finnish contingent - Mikka Aspa.
I really loved how at one point it would be one great riff, then at another it's something completely different; but just as awesome. I'd like to compliment the drummer or machine , however I do not know who or what did the drumming, and it doesn't look like I'll find out in the near future if all of the information about Deathspell Omega comes from interviews with band members from time to time.
Sand is one and a half minutes long, but has a great bass and guitar riff to it, which leads up to the next song: Abrasive Swirling Murk whose many bangs and crashes fit together really well to create a great and enjoyable song to lose many brain cells to headbanging. I do however, reserve a special love for the final track: The Crackled Book Of Life, which is a very interesting instrumental track.
It starts off, with what I presume to be much string bending, and around one and a half minutes in all guitars cease and all that is left is a bass solo with light drumming behind it, which I actually enjoyed a whole lot. It all climaxes after some synth elements are added and the guitars come back in to end the song on a very good riff.
All in all, this is definately the best EP I've ever listened to and I've listened to a fair few. The band certainly knew what they were doing when they created this masterpiece and I certainly hope they continue writing music like this for another album. I would thoroughly recommend this EP to anyone who is a fan of Deathspell Omega, as well as any black metal fan, as it is brilliant, just brilliant.
Another mighty missive from Deathspell Omega in the form of an mini-album EP and it's a surprise in that the band is expanding its sonic range into something more atmospheric, doomy and emotional. Opening track " I had a salowe vision" sic is a brief yet astonishing foray into intense and bleak apocalyptic post-rock of ringing chords and lots of dark, anguished space recognisable to fans of Caina and Godspeed You Black Emperor perhaps.
Suddenly "Fiery Serpents" explodes upon us in all its heavy, intricate yet melodic black metal fury: stop-start rhythms, nuclear-powered drumming, constantly twisting and turning arrangements, and occasional swanky passages of staccato riffing and drum rolls all overlaid by the familiar gnarly-snarly vocals. The tracks are very short and stop very abruptly and you wonder how the band manages to control its energy so well that each song is clear and distinct from the others and still manages to pack so much in the way of melody, rhythm and intense aggression into the space of about 3 - 4 minutes.
Can't believe we're halfway through the EP with "Sand", a confident swaggering piece with an off-kilter counter-melody to the main tune played on sparkle-toned electric guitar. Even that's an almost throwaway piece as "Abrasive Swirling Murk" pushes it aside with a complicated rhythm structure and more of those stuttering guitar riffs. This track builds down to a middling post-rock pace and but for a brief pause segues into "The cracked book of life" which unusually perhaps for DSO is quite a long instrumental piece of ambient post-rock groove with a trumpet loop surrounded by heavy guitar crunch and grind.
A long mournful clean-toned guitar solo underlines the anguish of existence in which belief in a loving God is futile because God does not care about humanity and its misdeeds. The recording may be very short it's only 20 minutes in total but there is such a lot packed into it that even DSO regulars must hear it a few times to register what the band has been able to do.
Parts of the album can be quite trippy and quirky in the way guitar chords and notes can sometimes appear off-key against the rest of the music. The musicians are delving much deeper into the territory of atmospheric post-rock and might be taking on an avantgarde jazz influence as well, all the while maintaining a firm grip on their black metal foundation with their fuzzy rhythm guitars.
As usual, the DSO lyrics are very dense and quite a mouthful for the vocalist to chant through. I am getting quite used to the idea of DSO releasing mini-albums rather than longer recordings: the mini-album format seems to suit the band's music very well, almost as if the musicians have to limit their exposure to their own stark and unwavering intensity or they'll end up absorbing too much radiant energy that their instruments release.
Yes, Deathspell Omega have gone punk. Yes, they have even gone pop. In fact, it's been recently announced that Deathspell Omega has been a weekend side project of Blink 's Tom DeLonge, and through some coincidence, it has been misinterpreted as the continuation of a French band of the same name that broke up ten years ago.
After such a cerebral and heavy handed album trilogy about theistic satanism, it's nice to hear Deathspell Omega throw away the evil and sing songs about pretty girls instead. Jest aside, I can see why Deathspell Omega's latest EP "Drought" has been getting recognition as a change of pace for the enigmatic black metal outfit.
They're still the same viciously technical bastards that they've been since their breakthrough "Si Monumentum For anyone who listened to their last full-length "Paracletus", this evolution from the unrelenting madness of "Fas - Ite, Maledicti, In Ignem Aeternum" to more concise song structures was predictable.
Deathspell essentially pick up where they left off with "Paracletus", and with this comes a barrage of jaw-dropping complexity, malefic atmosphere, and some of the best flow I have ever heard on an EP. Black metal's greatest prog-enitors have struck gold once again. On "Drought" and virtually everything they have done since "Fas Barring Aspa's trademark croak, and the occasional blast beat thrown between the inhuman permafills, Deathspell Omega have little now in common with the genre's core sound.
The guitars are rapturous and dissonant, and may sound a little more like The Dillinger Escape Plan than I would like to admit. Amidst the confusion, there are plenty of thick grooves.
Especially on a first listen, things can feel very chaotic, although- perhaps unlike the band's most challenging material- there's just enough melody and comprehensible rhythm in the music to make things coherent. Just enough. Although the most exciting moments on "Drought" are the chaotic storms, a considerable portion of the album is devoted to some of the most melodic and mellowed ideas Deathspell have done since "Si Monumentum There are no stops in the music on "Drought"; though Deathspell have generally shortened the track lengths, the impression of a twenty minute epic- like their earlier "Chaining the Katechon"- is evoked to great benefit.
Even the runt of the litter- the one minute "Sand"- has a place here. For a long time, I have not been able to cite a band that's gone as far with the black metal style as Deathspell Omega.
Even in making their song structures shorter and production cleaner, they still manage to sound as fierce and experimental as ever. I did not think that one of my favourite releases of the year would be an EP, but here it is.
As a fan, I've been blown away once again, and as a reviewer, I can only give my highest recommendation. Absolutely phenomenal. Mikko continues to utilize his raspy growls to great effect and the drumming performance is still an insane mix of furious blast beats and impressive fills.
With everyone on the mark the group continues to pave new ground through the metal sonic-sphere without missing a step. What proceeds is domination by a hellish aggression you would expect from the very best of Paracletus. Twisted and dark these songs rip you through a murky atonal undertow without pausing for breath.
Without a doubt one of the most quintessential tracks of its genre, this one-song EP has everything you could ask for in Death Metal. The insane complexity of the instrumentation, the raw and brutal growls, accompanied by obscure and unsettling atmospheric sections. While this is an incredibly inaccessible tracks due to its bizarre song structure and outstanding heaviness, it's still regardless a cornerstone of, not only Death Metal, but metal itself.
Gotta give it five stars for sure! The last ten minutes are my favorite of the song, they feature the craziest technical sections, a brutal riff near the end that works as the climax, and the closing chorus is epic and bone-chilling.
Simply one of the best death metal tracks ever made. It's definitely a five star track, essential to any death metal collection. Although to the uninvited listener, this will all come across as bantering din from social deviants, this French band finds still more ways of mixing slow plodding, even doom metal fueled nonchalantness with caustic aggressive fury.
While "Diabolus Absconditus" seemed to thrive on its simplicity, DROUGHT on the other hand returned to the antics of the Satanic trilogy with incessant drifts of highly fustian freelancing that delivered an entire album's worth of emotional torture tactics all in the short playing time of 21 minutes.
While the shock value may have been long gone for members of the DSO cult, the perfunctory prowess of the musical complexities does not cease to impress. DSO disappeared for several years after this and wouldn't re-emerge from the underworld until 's "The Synarchy of Molten Bones" but the band's legendary status reverberated well into the s with countless imitators adopting the highly complex and atonal characteristics that DSO launched with its lauded masterpieces of molten maniacal monstrosity.
Sure the ticket is your soul but at least there is a day satisfaction guarantee or your soul back! While rhythmically monotonous with a steady beat that is punctuated by only occasional outbursts of aggression, the star of this show is the guitar which features a deliciously evil cauldron of tricks that offer enough variety to keep the entire run engaging. Likewise the musical accompaniments such as the bass and drums also find clever yet seductive means of mastering a perfect triumvirate of instrumentation while the lyrics barrage the soul with darkened themes and slamming mind tricks.
Perhaps not the most developed of the DSO releases, this one still is amazingly effective in scaring the bejeezus out of anyone who hasn't acclimated themselves to this otherworldly musical effect that sounds like a soundtrack to the underworld.
It's utterly amazing how DSO can crank out so many different stylistic approaches with the same ingredients firmly in tact. Following 's "Si monvmentvm reqvires, circvmspice" and 's "Fas - Ite, Maledicti, in Ignem Aeternum," the latter of which introduced bizarre new dynamics that included dramatic pauses and stylistic shifts, where the final track "Obombration" essentially served as a two minute symphonic intermission designed to be followed.
Generally speaking the beginning and end of the album are heavier with rampaging stampedes of sound while the mid-section around "Phosphene" offer those cooling off periods with slower, less complex and more introspective ones often with choral chanting replacing the snarling raspy shrieks of Mikko Aspa's effective vocal approach. For those who prefer the most bombastic of the trilogy, this one probably wins but i personally prefer the greater spectrum of stylistic shifts that "Si Monvmtvm" and "Fas - Ite" offered.
The track clocks in just over 22 minutes but features the classic jaw dropping characteristics of the band's Satanic trilogy that were instrumental in taking black metal into a much higher level of philosophical and progressive credibility.
Laced with the hallmark dissonant jangle guitar riffs and the transmogrifications from creepy slow tempos to buzzsaw blastbeat fueled black metal fury, CHAINING THE KATECHON essentially served as an intermission between the final two chapters of the Satanic trilogy but was every bit as intricately designed and fueled with some of the scariest combinations of sound that have ever haunted the metal universe. Mikko Aspa's unmistakable vocal style dominates the chilling soundscapes with raspy declarations of darkened ideologies but finds more moments on VERITAS to offer clean narrative proses that add to the overall diverse rotisserie of progressively infused weavings of stylistic shifts.
The beauty of this one is that it feels more like a condensed version of the longer albums where certain segments are truncated and serves as a sampler for those brave enough to dip into this band's world of terrifying and horrific sonic assaults. This sole track is for sure one of the band's finest moments and a mandatory extension of the brilliant triumvirate that remains the band's finest hours.
O The S. Side B of the original 12" vinyl release features three tracks but appears in some databases as the 23 minute track "Le Diable est ma Raison. The frenetic nature is very much in sync with DSO's most furious moments and Spica's vocals sound exactly like Mikko Aspa's.
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