The groundbreaking Incubate Festival’s third event of 2016 has made its first announcement of artists.Continue reading
Tag Archives: Belphegor
Video: Belphegor, Origin And Abigail Williams From The Front Row In Florida
Belphegor wrapped up their latest U.S. headlining tour over the weekend in Florida, and we have some killer footage from the final show for you today.Continue reading
Festival Preview: Knotfest
Slipknot’s Knotfest is taking over, and if you have doubts about this I feel sorry for you. Growing to new locations and opportunities, Slipknot continues to grow their brand and the legend of these concert events. Taking place this weekend at the San Manuel Amphitheater and Festival Grounds in an Bernadino California, kicks off tonight with a private pre-party for campers ad VIP’s with performances from Sepultura and The Faceless among others. In addition to camping and vendors, this year’s Knotfest has crazy attractions like the Knotfest Museum, Street Drum Corps Blood Drums Experience, Thunderdome – Fire Area, Ring of Fire Carnival Ride, Flaming Carnival games and more.
Slipknot, by Evil Robb Photography
Music is the thing that makes Knotfest come alive and Saturday is headlined by the mighty Judas Priest prepared to put on their legendary stage show. Followed up by Korn, who is in the midst of their debut album, 20th anniversary. Next on the main stage is Mastodon, followed by Trivium, COC with Pepper Keenan and a surprise special guest TBD.
Dr. Michael Bishop as Blothar of GWAR, photo by Meg Loyal Photography
The #2 and #3 stages for Saturday boast the likes of GWAR, Earth Crisis, Body Count, Goatwhore, At The Gates, Red Fang, Born of Osiris and Battlecross. Meanwhile the extreme stage has Kataklysm, Inquisition, Her Name In Blood, Belphegor, Abysmal Dawn, and Khaotika. Plus there is a Headbang for the Highway Stage sponsored by Zippo.
Sunday is no less impressive with Slipknot putting on their typical astounding show. They have out done them selves in every edition, and this should be no different. Bring Me The Horizon has possibly the biggest album of the year on their hands and are in the penultimate support slot appropriately. Rock giants Clutch follow closely along with Mobb Deep and Ghostface Killah.
The eclectic and star heavy second and third stages have bands such as Suicidal Tendencies, Beartooth, Cannibal Corpse, Snot, Helmet and Devour The Day. On the extreme stage legends Dying Fetus with have a chance to show fans how real technical death metal is done. They are joined by Internal Bleeding, The Reaktion, Disgorge, Green Death and Kings of Carnage.
You can still get tickets for Knotfest here:
Eater Of Worlds – Dennie Grondelaers And Reinier Schenk Of Saille
Saille at Bloodstock 2015. Photo credit – Dries Gaerdelen
While roaming the green green grass of Bloodstock Festival earlier this year, Ghost Cult caught up with Saille to discuss their first appearance at the legendary festival, and how work on their next opus is coming along…
If there was something special about Bloodstock Festival in 2015, aside from the bands and the people of course, it was the constant sunshine and heat; something we always hope for at UK festivals but we rarely get (anyone who has encountered Download Festival at its worst will testify to). However, while this is great for the fans it does not necessarily prove to be so for those bands on the main stage who strive for dark and haunting atmospherics. The likes of Agalloch and 1349 across the weekend made due effort and came out well; for poor Belphegor the presence of butterflies clearly visible to the stage proved too comical to take them seriously.
With their debut Bloodstock appearance on the Sophie Tent instead of the main stage, Belgian black metallers Saille luckily benefited from the tent atmosphere, able to showcase their tone and visuals unaffected, and as a result proved one of the weekends highlights. Speaking to vocalist Dennie Grondelaers and guitarist Reinier Schenk before their Sunday set, they both understand their stage positioning, and are very positive about their setting.
“We have to accept the fact that we are a growing band; if we are on the main stage we would just vanish into nothing” begins Grondelaers, philosophically.
Schenk “I prefer to play inside because we can bring our own light show”
Grondelaers “Its certainly interesting for black metal bands to play in the sunlight.”
With a very strong release ethic which has seen 3 albums in the last 4 years, Saille have, unsurprisingly reached UK shores more frequently as of late, but Bloodstock represents their first festival appearance, at least in the UK. With so many festivals across Europe now, competition is as fierce as ever. Grondelaers muses “I don’t think it’s actually well known (outside of the UK), but people who know Bloodstock are really excited about it, but I also think the main audience is people on the mainland.”
Schenk: “There is a lot of competition on the continent, a lot of small countries and huge festivals, if you can’t see a band there then maybe come here, like Emperor last year.”
Grondelaers “Plus it’s the same weekend for Party San in Germany and Brutal Assault in the Czech Republic.”
Despite the competitive nature of the festival season however, Saille are very positive about Bloodstock and say there is a big plus on its side. Grondelaers explains: “It’s a small festival, there are very big bands but on a smaller scale, compared to say Graspop which is nice but its huge, about 50,000 people. Here it’s half (that) and much more laidback, more relaxed and you don’t have to walk around. You don’t have to walk 4 hours on some sandy trail to get to your camping spot.”
With the festival season still in full swing even after Bloodstock, Saille have a busy schedule of more European festivals before returning to regular venues, and the writing of the follow up to last years Eldritch(Aural Music). With a very fast paced release schedule before, this time around they want to take things differently. On the subject of new music, Grondelaers adds “We want to take a little more time for the next album, we are not putting any deadlines on it this time.”
Reiner Schenk continues in blunt fashion. “Deadlines always destroy something, if it’s the artwork or the production, it sucks.”
Grondelaers “It’s a bit too early to talk about it but we have pretty much worked out the concept will be about pain and suffering.”
“We tried butterflies and love but that was taken already” Schenk deadpans.
WORDS BY CHRIS TIPPELL
Bloodstock Festival: Day One – Catton Hall, UK
With humble origins as a smaller, indoor festival in 2001, and being headlined then by metal legends Saxon due to connections to organiser Paul Gregory, Bloodstock steadily grew and grew until eventually in 2005 it saw an additional (not solitary) open air version. It is now the UK’s biggest open air metal (not rock) festival. Now, in the open air’s 10th year, a cursory glance at the line-ups throughout the years show its size and stature growing with bigger names from the likes of Slayer, Megadeth and this year’s closer Rob Zombie alongside the underground, the extreme and even the silly (hello Korpiklaani).
Crowd at Bloodstock Open Air 2015, photo credit Sabrina Ramdoyal
Much smaller than the likes of Download Festival, Bloodstock benefits from its close proximity to the campsite meaning if you do fancy a nap to fight off that expected hangover then you are only five minutes away. As you do enter the main arena you are firstly greeted by a cordoned off circle which later in the weekend will see infamous Knight fighting, as illustrated by the many in full knight’s armour throughout the weekend because, you know… metal!
A few paces beyond is the Sophie Lancaster Stage which proudly supports the S.O.P.H.I.E Campaign, and just beyond is the smaller Jagermeister Stage which sits just next to the grounds of the main stage, and even past that is the Hobgoblin New Blood Stage, all within a few minutes walking distance, easy and convenient. Coupled with one of the most consistently pleasant, easy going, and friendly festival goers you will hope to meet (with plenty of families about) and you can’t help but have a fantastic weekend. Welcome to Bloodstock!
As per usual, the festivities really kick off on the Thursday with several bands on the Sophie tent; and a glance at the shirts about show that openers Reign Of Fury have a tonne of fans about. Later on in the day if Welsh death metal hoodlums Desecration don’t get you in the mood for debauchery then nothing will as they deliver a sterling set.
Nuclear Assault, photo credit Sabrina Ramdoyal
Friday arrives and the rescheduled Nuclear Assault start off the main stage as it would continue throughout the weekend; with troubles, as they play with borrowed gear due to airport confusion. Still they play with intensity and ferocity, if you can get past John Connelly’s cartoon like voice which verges between cringe worthy and suiting.
Despite the glorious sunshine its back to the Sophie tent for the loveable Pronk duo Oaf as they deliver the first truly great moment of the festival with a set chock full of obscenities, humour and incredible songs. Very little will top the image of a packed out sea of Cheshire Cat grins bellowing out the chorus to brand new song ‘Disgusted By Your Genitalia’ this weekend.
The New Blood Stage over the weekend will play host to numerous winners of Bloodstock’s Metal To The Masses winners as well as other great new talents, proving a very worthy place to go if there is a gap in your schedule. Early on in the day is Brighton’s winner, thrashers King Leviathan who combine the pace and energy of thrash/death metal with black metal’s fascination and imagery of the occult. With impressive numbers and a formidable display, it seems the future of metal is in good hands.
Arnocorps vs Alien vs Predator, photo credit by Sabrina Ramdoyal
Shortly after, the sunshine doesn’t appear to be helping the black metal bands of the weekend as they vividly corpse painted Belphegor seem to be greeted by not only it brightening but butterflies flying around the stage, which proves too hilarious.
There is even plenty of Prog over the weekend, with a wide range of progressive minded metal bands across the stages, which brings up your scribes’ first major clash of the weekend. It wouldn’t be Bloodstock if a stage or two wasn’t plagued with sound issues, and it’s a testament to the loyal masses that Enslaved’s inaudible vocals did not detract from the raucous response from a crowd who adore this darkened, Nordic prog. Outings from newie ‘Building With Fire’ and old favourites like 1997’s ‘Alfablot’ amalgamate perfectly to create one of the sets of the weekend, proving that the spirit and character of a band can cast away sonic snags. An entirely different beast, Australian tech metallers Ne Obliviscaris pack out a rapturous Sophie tent with a rare visit to these shores, and a mind bogglingly complex but stunning set which has everyone in attendance hooked.
Ihsahn, photo credit Sabrina Ramdoyal
The main stage gremlins make yet another appearance as they wreak havoc on Ihsahn, causing a long pause during the set to sort out monitor difficulties. Not that you would have noted the band’s distraction at all as aside from this delay they/he perform an absolute masterclass. Plus it’s a testament to his deity like reputation and the open minded crowd that he can close with a brand new song in ‘My Heart Is Of The North’. The Prog continues with relative newcomers Diatessaron on the New Blood Stage with, sadly, some signs of nerves kicking in and a sound that feels too out of place for the festival, the band seeming too thin and reward with a somewhat disinterested crowd.
Sabaton, photo credit by Sabrina Ramdoyal
Making good use of the close proximity to the campsite means it’s time for a rest to recover from the heat. A few drinks in and it turns out we have accidentally missed the mammoth heaviness of Conan (dammit), but its back in time to see Swedish power metallers Sabaton continue their ascent to one of the UK’s favourite metal acts. Kicking off, as ever, with ‘Ghost Division’ they charge in with the subtlety of a Panzer battalion as the likes of ‘Carolus Rex’ and a rare UK airing of ‘No Bullets Fly’ cause sing-alongs a plenty. The band themselves are certainly having the time of their lives up there, but the set derails somewhat by their insistence on rehearsed comedy routines which are completely unnecessary, especially with the songs they could have played in their arsenal. Still even this cannot take away from one of the most fun sets of the day; plus they have a huge fucking tank on stage.
Sabaton, photo credit by Sabrina Ramdoyal
Since they have been huge favourites in the UK since their inception, and the history they have with UK festivals (that infamous main stage opening slot at Download), it seems about time that Trivium are given the challenge of headlining a major UK festival, in what seemed like it could have been another historic and defining moment for both the band and festival. Sadly they hit problems immediately as they choose to open with the live premiere of brand new song ‘Silence In The Snow’ which has not only been out for only a few weeks but also does not prove captivating enough a song. Things are unaided by the absence of guitarist/growler Cory Beaulieu due to microphone difficulties which result in him getting electric shocks (those gremlins again).
Trivium, photo credit Sabrina Ramdoyal
When issues settle however and they hit their stride they show strong a band they are with quite the arsenal of anthems, from stirring renditions of the likes of ‘Like Light To Flies’ and ‘Into The Mouth Of Hell We March’. However the set does prove very inconsistent as for each great moment, there are those that fall flat, like ‘Strife’ and ‘Black’, plus another new airing in the trudging ‘Blind Leading The Blind’ towards the end of the main set. It’s a real shame as at times they are almost exquisite, but at others they seem tired and daunted by the event. The crowd is firmly behind them, but what could have been a monumental occasion sadly proves frustrating.
WORDS BY CHRIS TIPPELL & SARAH WORSLEY
Anaal Nathrakh, Broken Hope, etc Set For Royal Metal Fest 2015
The Royal Metal Fest 2015 will be held at Atlas and VoxHall at Aarhaus, Denmark on April 10-12, 2015. The lineup is:
Fredag:
– Týr (FO)
– Destruction (DE)
– The Petulant (DK)
– Diamond Drive (DK)
– When Water Runs Deep (DK)
Lørdag:
– Anaal Nathrakh (UK)
– Belphegor (AT)
– Majesty (DE)
– Broken Hope (US)
– Internal Bleeding (US)
– The Walking Dead Orchestra (FR)
– Hell’s Domain (DK)
– Swindler (DK)
Marduk – Belphegor: Live at Effenaar, Eindhoven NL
On a rainy Friday evening, Febuary 20th 2015 we head to the Effenaar’s small hall in Eindhoven. We’re in for a night that will hopefully make the rain outside seem cheerful, as Belphegor and Marduk, presented by Eindhoven Metal Meeting, chilled us to the bone while pummeling us with blast-beats. Joining them today are Bliss of Flesh, a French black/death outfit and the Dutch melodic death band Spartan, who’re a bit of the odd ones out and have the challenge of opening.
Sadly Friday night is also the one evening the stores are open in Eindhoven and this added to the rain create a bit more traffic than expected, meaning Spartan are just launching into their last tune when we enter the partially filled room. The band’s happy and merry stage presence and party atmosphere with which they deliver what they call power deathmetal is admirable, but definitely not fir the crowd that has come to see Marduk, and while they come across as sympathetic their sound is a little confused and definitely not hitting the spot for the current audience.
After a brief changeover and a few more arrivals, the French Bliss of Flesh take the stage. They’re a lot more in line with the rest of the lineup in atmosphere they try to create. Unfortunately there seems to be something disjointed about the band. The singer has clearly studied Gaahl’s stage presence and attitude extensively, but doesn’t pull off the calm overbearing threat that man manages to present himself with. Instead it feels more like a trick. Added to this is the fact that two of the band members seem to be inclined to a more Deathcore or even nu-metal side of musicianship, with many scale running solos and posturing, while the drummer, other guitarist (who has his own solos, and adds to the somewhat messy sound in that way) and vocalist seem more black metal inclined. Added to this are near constant hi-hats and a almost complete lack of low regions in the mix and even the elaborate mic stand and growls don’t come across as particularly menacing. The drums being slightly sloppy and a near constant rumble add to the general feeling of not quite it, and I’m left with a particular sense of “nothing special”.
The room is now nicely filled, but no where near capacity, as two stands covered by black tarp are carried on stage. The Austrian Belphegor sets up their stage while the room socializes and the beer flows. When the first intro music starts everyone moves forward and looks up. Clearly Marduk aren’t the only reason people have come and in anticipation the audience waits for the band to appear. One intro tune passes, and the band doesn’t appear, the stands at the front of the stage stay shrouded in their black veil, and we wonder what the wait is. After a second intro starts and a roar from the audience a crew member quickly walks onto the stage and unveils two impressive bone and skull totems flanking the gasmask encased mic-stand. Shortly after an artificial fog rolls onto the stage and figures appear in it. The band is in a completely different league to the previous two from the first notes. The mix is suddenly clear and balanced and vocalist/guitarist Helmuth is a man who looks almost possessed while on stage. Though the glances at his hands while growling distract focus a bit, the general atmosphere the band creates is incredible. The more Deathmetal inspired song structures and differences in tempo and dynamics allow for breathing space in between the onslaughts of blastbeats to enjoy the more melodic layers under the onslaught. The layered nature of the compositions also gives the effect of a ghostly extra melody behind the vocals, even when the second set is yelled in by guitarist Impaler and drums fill the background. A thoroughly enjoyable performance finally warms the room up for the main attraction of the evening.
The Swedish quartet Marduk have a long history in their mix of black and death metal, and are currently touring their lastest album Frontschwein, released this year on Century Media. The wall of sound hitting you is utterly breathtaking, but unlike many bands Marduk know how to change the pace now and again, allowing for short periods to gasp for breath before the next wave of blastbeats and growling hit you. The utterly impressive and repulsing vision of front man Mortuus set the tone while changes in tempo and utterly catchy bass lines and tom rolls keep the music from forming an impenetrable wall and instead feels like being pelted rhythmically by different sized rocks. The sound in the venue is crisp, clear and heavy, but easily endured without any ear plugs. The minute Marduk take the stage a relentless moshpit is formed, which only subsides to throw horns of appreciation at appropriate times, but whirls and pummels all the way through the well over an hour set, peppered with both work from their latest album, and many classics judging by the ecstatic crowd’s reaction. Never does the pace let up, except for a brief moment in which a piece of intro music is played, after which the onslaught continues. The only minor errors I could detect were the switches in tempo not always being as tight on the drums as would have been preferable, but the impressive and almost offhand drum solos thrown into several other tunes well make up for that minor chink in the armor. In short Marduk live is the musical equivalent of being water boarded. The constant rush water taking your breath away let up for brief moments as you get pulled back only to be shoved straight back into that pummeling experience all over again. An excellent end to a slightly divided line-up, and more than worth the money.
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WORDS AND PHOTOS BY SUSANNE MAATHUIS
Bloodstock Festival Adds More Bands, Tickets On Sale Now
Bloodstock Festival (aka Bloodstock Open Air or BOA) has added five more bands to its already stacked line-up for 2015. New to the bill are reformed sludge metallers Raging Speedhorn, prog-metal exports Xerath, Trepalium, Villainy and Godsized. Taking place August 6th – 9th at Walton on Trent, Derbyshire UK. Tickets are on sale now by phone (24hr ticketline at 0871 230 5584 )or online and include an array of camping and VIP ticket options. Camper van pitches are now all sold out.
Already announced to the bill over four massive stages are major acts such as Friday’s headliner Trivium and special guests Sabaton, Saturday’s headliner Within Temptation and special guests Opeth, Sunday’s headliner Rob Zombie and special guests Black Label Society, also Cannibal Corpse, Ihsahn, Sepultura, Orange Goblin, Death T.A, Nuclear Assault, 1349, Napalm Death, Dark Angel, Armored Saint, Belphegor, Overkill, Ensiferum, Agalloch, Korpiklaani, Pro-Pain, Enslaved, Wolf, Delain, Fleshgod Apocalypse, Godflesh, Lawnmower Deth, Mordred, Ethereal, Onslaught, Oaf, Pritchard Vs Dainton, Conan, Planet Of Zeus, Bast, Saille, Batallion, Destrage with more bands to be announced in the coming weeks.
Black Magick Spells And Rituals- Helmuth of Belphegor
Forming in 1992, Belphegor have been seen as an icon, as one of the most fearless projects within the black and death metal scene. After the grandiose Pestapokalypse VI in 2006, and the well-received Blood Magick Necromance, in 2011, the band returns once again at the top of their game with Conjuring The Dead (Nuclear Blast) Are you able to say Belphegor is at their best? Every band always says their latest album is the best they’ve ever done. In the following interview with co-evil overlord Helmuth, he goes to great length to discuss the shifting tastes and style of the band, how important experimentation is to him in writing, shred guitar, Classical music influences, utilizing guest stars on the album, and other topics of interest.
It seems death metal is more present than black metal nowadays. Is this the path Belphegor will continue to take?
Belphegor has always been a Death Metal band. Those familiar with our discography should be able to see that it is not a new path for us.Yes. This album is more Death Metal focused than the past few releases
This was not due to a trend. It was inspired by my actual dance with death and our need to raise the bar and experiment further with each album. The process to create this lasted ages. A lot of sweat, blood, and energy flow into Conjuring The Dead. I never worked so hard on another release. I always had in the back of my mind,and feared after my life threatening health issues, it could be the last Belphegor album. So I didn’t want to fukk around, I wanted do things absolutely right.
The press sometimes describes us as a Black Metal band, maybe because of our brutal stage rituals. I never understood the misconception as the Death elements clearly lead. If you turn the volume all the way up, it’s as if the band is in the same room with you. I guess people that want to hear extreme Musick will dig it and understand the Death Metal approach. Don’t want to end up as an epic or melodic band. It just was time to return to our roots and celebrate and glorify Death musick.
Belphegor’s lyrics are mostly embodied by obscene and sacrilegious themes against Christianity, but the single ‘Gasmak Terror’ leads into a nuclear holocaust. Is there any particular reason to write something like that in 2014?
No wonder why when we can see the world being destroyed right before our eyes more than ever. The blasting ‘Gasmask Terror’ doesn’t reflect all of the content or entire concept of the full album. I just wanted to do some war-related and downfall of humanity themed verses once again.
14 years ago, we did the first track entitled S.B.S.R with war-related lyrics on Necrodaemon Terrorsathan ( 2000 ).
We wanted to go for a fast, typical Belphegor track, that’s why we decided for ‘Gasmask Terror’ as first single. It has everything we stand for. The 2nd single will be the monstrous ‘Conjuring The Dead’, a double bass assault. Totally different than ‘Gasmask Terror’.
I dare say Belphegor’s riffs are the nearest to the powerful classical music, like that which was written by giants like Tchaikovsky – for instance. I recall the track ‘Chants for the Devil 1533’ from 2006 or ‘Rex Tremendae Majestatis’ off of the new album. When listening to songs like these I hear an entire orchestra in my mind.
Great man. Thank you for your appreciation, an honor.
For ‘Rex Tremendae Majestatis’ we added a lot classical tones in the guitar department. The title is taken from Wolfgang Amadeus Mozart’s last composition, ‘Requiem’. He wrote it on his deathbed. He knew he would die soon. It shows how good artists can get when they feel threatened, or know their time is up! The song has influences by this composition when it comes to the intensity of the atmosphere. I have to be careful with such statements, I don’t want to be, as often as it happens, misinterpreted. I’m not a composer like Mozart, he was a genius. But this exalted, majestic track is exactly what I felt as I started creating ‘Rex Tremendae Majestatis’ and when I listen to ‘Requiem’.
We approached the music more maturely than ever before. All was very serious this time because of my health issues. You also hear a lot of tri-tones, dis-harmonic tones that were forbidden in middle ages by the church- they really feared those tones. Back then, these sounds were called the “Diabolus In Musica”.
The most known song, in my opinion, that is based on the tri-tones is the riff ( 3 tones/ including the octave) of the song by the name of its band, ‘Black Sabbath’.
‘The Eyes’ is an instrumental song with a very melodic guitar riff delivered by shredding. What’s the message you want to give by including such song in the album? What are The Eyes?
‘The Eyes’ is an intermezzo,classical guitar picking and a lead guitar.It calms everything down after the first five brutal sound collages. After ‘The Eyes’, starts the most complex and technical song on this LP, ‘Legions Of Destruction’. Brutal!!
Besides that track and the epic finale in ‘Gasmask Terror’, do you feel Conjuring The Dead is Belpeghor’s most extreme and less melodic album so far?
Yes, exactly. That was the master plan as I started this new project back in December 2011.
For the first time, you’ve decided to invite two heavyweight musicians: Deicide’s Glen Benton and Mayhem’s Attila Csihar. Do you feel those additions help the album to be more popular than you imagined?
I had this vision for a long time, wasn’t a marketing thing. It was just to please my ego, hahahrrr. Truly, it’s really cool to me. I respect what their work brought to the extreme Metal community.
I wanted to have those two guys, not just any dudes from some other bands. My plan was either them or fukk the plan. Thing is, Glen is my favorite Death Metal vocalist and Attila my favorite Avant-garde/Black Metal singer. I think I first asked Attila about it in 2007, as we recorded ‘Bondage Goat Zombie’. With Deicide we did two big tours, one in the US one we conquered and devastated Europe. And Glen liked the idea, which was awesome. There was always this schedule problem, they were on tour, or we were on tour, it was difficult, but finally it worked out. Both bands in the beginning were very important and inspiring to Belphegor.
This is an honor to me to have these two guys putting their magick on the track. The listeners can decide what impression it makes upon the entire album.
DIOGO FERRIERA
Belphegor – Conjuring The Dead
Belphegor are one of those sorts of bands – you know the type. Settling early on for a familiar combination of established styles, they achieve a degree of success for doing what they do well and without pretension. The inevitable backlash kicks off after the album which is widely regarded as being their best and they’re accused of “selling out” when they sign to a comparatively big label. The rest of their career is then spent putting out variations on the same basic formula while the fans argue about whether they’ve truly regained their early quality. It’s a dance we see a little too often in a genre that would like to see itself as beyond fashion, and Belphegor seem to be following the established pattern well.
Conjuring The Dead (Nuclear Blast) picks up where they let off from with the supposed “return to form” (according to some fans, anyway) Blood Magick Necromance, with the same combination of catchy Death Metal and atmospheric Black Metal that the band have firmly established as their own. There is a sharp focus on song-writing here, most songs being based around a catchy riff or verse structure, and Erik Rutan’s production gives the band a punch they haven’t always had. Opener ‘Gasmask Terror’ is exactly the slap in the face they need, a neck-snapping catchy assault that allows them to release the throttle on some later tracks without losing too much steam. Calling this music “accessible” sounds like some elitist slur, but within the conventions of Black/Death Metal Conjuring The Dead very much errs on the side of catchiness and safety, being enjoyable, but not in any way threatening or challenging.
Conclusion – it’s a Belphegor album! If you care enough to actually hear it, the chances are that you know what it’s going to sound like already. To an impartial ear it sounds like a pretty decent one, but no doubt hardcore fans will take up large chunks of Metal Archives’ bandwidth arguing its exact place in the canon. The rest of us will probably enjoy it while it’s playing and then promptly forget about it.
6.0/10.0
RICHIE H-R