Label: Spread Evil Productions
Origin: Western Finland
Black metal’s most infamous double-crewed vessel, Hordanes Land, was launched from the southwestern coast of Norway in 1993. It encompassed a handful of songs previously cast on EPs from two relatively unknown groups: Enslaved and Emperor. Less than six months after this exploratory voyage, both bands unleashed debut full-length behemoths that would define decades of black metal to come, and became instant commanders of the genre around the world. Twenty-seven years later and 1000 kilometers to the northeast, Dawning ov the God sets sail, a split venture from Goats of Doom and Sarastus that churns up the same malice and misanthropy exhibited on Hordanes Land, updated for the next generation of Satanists.
Goats of Doom and Sarastus share many similarities upon first glance: both bands hail from Finland (and are less than two hours apart, Nivala to Oulu), have released several full-lengths, and even share vocalists in certain live arenas. The beauty of a split album, however, often lies in that transition zone between the first tracks (in this case, three from Goats of Doom) and the second half of the record (enter Sarastus). With bands of a seemingly similar disposition, like these, these few seconds can illuminate key differences between acts. Where Goats of Doom embodies a fast-tempo, blast-beat-ridden, minor-chord-driven aural assault from hell, Sarastus slows the pace down at times, markedly plays with percussion styles within single tracks, and maintains a higher quality of production value, particularly in the guitar tone.
The most striking discrepancy between bands is in the vocal style and mix: Scaregod, the lead blasphemer, from Goats of Doom unchains raw, asphyxiatingly brutal lyrics that command every track, whereas Sarastus’s preacher, Revenant, releases more refined, traditional black metal growls that backdrop beautifully intertwined guitars and drums. Fans may prefer one style to the other, but, regardless of preference, both are executed with stunning precision and timeless passion.
Goats of Doom blast through the harbor with album opener “Kuljen Pimeydessä,” Finnish for “I Walk in the Darkness.” Torrid minor chords and blistering blasts punctuate initial moments of confusion, before draconian shrieks methodically suck blood from the eardrums. The bloodletting is relentless: the listener is ripped from the clutches of a fiery womb. Finally, slowed guitar licks and dissonant percussion pave a blackened avenue for Scaregod to infuse oozing, low-pitched growls into the boiling tar before it hardens onto the Devil’s driveway. Vocal juxtaposition highlights the middle passages of “Vihan Liekki (The Flame of Wrath).” While still composed of the suffocating sulfuric vapor of Scaregod’s typical style, offsetting shrieks consist of harmonic low-pitched distortion that fiendishly fan the flames of the smoldering riffage.
Standing out among the three Goats of Doom tracks is third song “Kuolleiden Profeetta (The Prophet of the Dead).” With a thundering snare dominating the initial air space, lightning-fast tremelo minor chords scale the stairway to attack the pearly gates before stifling shrieks bash in heaven’s door. Ominous guitar licks set the stage for duel-growled declarations of death: one from Scaregod’s inhuman larynx and the other from the abysmal titular prophet himself. This track is Finnish Black Metal at its absolutely most bleak: brutal, depressive, and e-viscerally satisfying.
Stepping up to the helm for tracks four through six, Sarastus kicks their half off with a funky drum beat opener to “Where Restless Souls Wander.” The percussive pattern continues into seeping mid-tempo riffage exuding haunting overtones, before lead arsonist Revenant spews noxious fumes that linger across the audible graveyard like a thick fog clinging to cover. The drums remain taut and tempered in stark contrast to the wild bleating of the previous tracks from Goats of Doom. Further, Revenant’s vocals are layered into the mix equally with the other instruments, a departure from Scaregod’s shriek-forward approach.
“In the Shadow of the Lord” motors forward next, with searing licks and consistent blasting elevating desperate roars before fading to black. Sludgy, drum-less chords transition this standout track into a new passage, radiating references from Darkthrone and Satyricon‘s heavy black ‘n’ roll days. Frequent pace changes pound the remainder of the track, each executed with the staid expertise of a seasoned blacksmith sharpening a blade. Fast, blast-beat ridden sections discharge the same brutality as Goats of Doom, but with the refined taxidermy of a modern Dark Funeral record. Mid-tempo, riff-forward passages force head-banging submission less escapable than gravity itself. Final track, “Ghosts of Forlorn Woodlands,” takes this crushing power and stirs in evil elixir. Opening power chords flex diabolical strength while bewitching, unorthodox blast-beating hexes the captive listener. Minor licks and impassioned snarls wormhole this majestic track back to 1993, riding the timeless, blackened waves of Scandinavia.
Dawning ov the God https://www.youtube.com/watch?v=gxYECRd7XCk
Emerging with the raw, aggressive fury of charred black metallers Goats of Doom and closing with Sarastus’s hypnotic ode to mystical nostalgia, Dawning ov the God has something for every budding misanthropist. This EP is an encouraging microcosm of a thriving environment: an unrefined hatred for humanity, instrumental weapons of Satanic destruction, and anti-cosmic melodies of blackened death. Black metal is alive, well, and inciting chaos in Finland.
FFO: Darkthrone, Beherit, Dark Funeral, Gorgoroth