With a bio for the album proudly declaring that Greek band Satan’s Wrath were to unleash ‘relentless blasphemy, unholy sacraments of evil made by dwellers of the twilight, horrors that will make priests vomit in agony, abominations that the prophecies of old kept hidden’ and that the duo ’is the only band in the world in communication with thy master through ceremonial black magic and necromantic rituals’, not forgetting that ‘One member alone controls 13 satanic covens worldwide and organizes the most hideous sabbaths which our lord graces in the form of the black goat’, it would have been so easy to quickly move on in the expectation that all the vivid declarations was masking a weakness in the actual important part about them, the music. Luckily and very satisfyingly it is not the case, the new album Galloping Blasphemy being a ferocious blend of aural artistry and sonic imagination. Ok it is not the bestial violation it wants to be, the ultimate blasphemous outrage to decimate and destroy senses, but it is a thoroughly compelling release which over shadows the, to be honest the underwhelming and predictable attempt at being your worst nightmare.
Consisting of Tas Danazoglou (vocals, drums, bass) and Stamos K (guitars), Satan’s Wrath has produced an album which is impressive and captivating, its fresh blend of black, classic, and thrash metal with plenty of progressive essences an absorbing concoction. Black metal cored, the band remind of the likes of Impaled Nazarene, Burzum, and a little bit Slayer, though it is just part of the picture and ear catching triumphs the pair brew. The album is not flawless nor arguably openly original in its intent or sound but nevertheless captivates from start to finish with ease, with enterprise, and with unmistakable invention.
A predatory consumption of menace opens up first track Leonard Rising – Night of the Whip, the initial toxic atmosphere venomous and scarring. It is not long before the guitars are winding tightly around the senses, their acidic touch scything deeply. The sacrificial element of the song evolves into a full orgy of heated grooves, sharp air rupturing melodic invention, and guttural unforgiving vocals, the combination an ever shifting and hungry and evil magnetic companion.
Between Belial and Satan and One Thousand Goats in Sodom both bruise and ignite the senses equally, the first with its insurgent thrash rampage and arrogant malevolence and the second with an astringent weave of cutting sonics and raw melodics within a caustic energy. The musicianship on show here and throughout the album is impressive, the guitar play Stamos of alone more than worthy of a close attentive listen to the release.
Hail Tritone, Hail Lucifer, the stunning and masterful instrumental title track, and the insatiable hardcore spiced Death To Life, further let loose artistry and imagination to eagerly feast upon, whilst the corruption that is Slaves of the Inverted Cross just opens the door to further passions. The songs which make up Galloping Blasphemy from a distance are strong and easily digestible slabs of metal but it is when one delves deeper, immerses themselves in the heart of the tracks, that the real quality of the songwriting and skilled musicianship is evident. That makes for an album possibly needing more focus and work than others but it certainly gives much more back in return.
Satan’s Wrath, the song, closes up what is a engaging and creative album in Galloping Blasphemy, a release which all black metal and extreme melodic metal fans would be making a mistake with if they did not give it definite and prolonged attention. The band may leave one unimpressed with their ‘back’ story but easily achieve the opposite with their release.
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