February 10, 2013

Music Review: Satan's Wrath - Galloping Blasphemy

Recent weeks have seen me exploring a few of the doom metal artists I have in my collection that I am not have listened too all that much. I have discovered that I quite enjoy the style they offer and am seeking more. One of the artists I stumbled across was Satan's Wrath, whose debut album, Galloping Blasphemy.  arrived last September via Metal Blade. I have to say, while this may not be a groundbreaking release, it certain, is a captivating one that has plenty to offer the metal fan's ear.

The band, which does not seem to have any official web presence, is the work of two men. Tas Danazoglou (ex-Electric Wizard) handles everything except the guitar, which is ably manned by Stamos K. Together they have crafted a blackened thrash album that hearkens back to the days when black and thrash metal were young, when bands like Venom, Mercyful Fate, and Possessed were laying the groundwork for what was to come.

Galloping Blasphemy is an accurate title for this collection of galloping retro black metal. While the production quality is suitably modern, there is a rough around the edge quality that helps give it that retro sound. Technical guitar lines, frighteningly growled lyrics in praise of Satan, and plenty of reverb to fill linings out all add up to one solid slab of metal that will make you want to turn out the lights, put on a scary face and put your horns up high.

Yes, I know that sounds more than a little goofy, but there is something about this album that is endearing in a praise Satan fashion. They make no attempt to hide what they are doing. It is straight up, raw, and very catchy. The very first track, "Leonard Rising - Night of the Whip," gives you a really good idea of what you are in for.

The two responsible for a tight unit, the music is fully focused and well realized. It displays technical skill while also exhibiting a deceptive simplicity. The leads are melodic, aggressive and fit perfectly, nestled among the rough edged galloping riffs while the guttural vocals just drive everything home.

I would have to say the centerpiece of the album is "Hail Tritone, Hail Lucifer." It has an opening opening riff reminiscent of the NWOBHM before introducing a darker riff that moves the tune in a more early black metal direction. Then there is always that voice, enigmatic and evil.

Satan's Wrath brings black back to its roots. It does not do it with quite the same level of art as other modern acts, but the wielding of metal as a blunt instrument is not necessarily a bad ting, especially if this is the result. The rough technicality of this tight unit is one to be praised.

So, lets turn those clocks back to 1986 and turn up the stereo.


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