Label: Anthrazit Records
Origin: Iran
To say that heavy metal is not mainstream in Iran is a colossal understatement. The country has a relatively recent history of arresting and prosecuting those who partake in “Satanic” ceremonies, including sentencing members of Converge, a groove-metal band in the vein of Pantera and Lamb of God, to 14 years in prison and 74 lashes (each). They have since escaped Iran, and currently reside in Norway, where heavy metal, indeed black metal, is thankfully welcomed and legal. Sina Winter of From the Vastland similarly has migrated to Norway from Iran; Helzgloriam, on the other hand, skirt persecution from the underbelly of their homeland.
Helzgloriam embody the rich history of Iran with sections of mesmerizing melismatic female vocals, traditional Arabian melodies, and acoustic guitar passages riding an exquisite magic-carpet of tremelo and picado. Decapitated Mystics of the Serpent delivers the rites with fiery vocals from the pulpit, sinuous black metal riffs, and passionate drums – distilling traditional Persian spirit from an expertly crafted symphonic elixir.
Opening track, “Sohor,” commences with ceremonial drums as a backdrop for delicate bird-like acoustic tremelo notes. Ominous symphonic melodies set the tone for an altar studded with chalices brimming with the elegance of stringed instruments and flanked by a choir of unholy disciples. The acoustics return to initiate standout track, “Gorgan Wall.” Bone-chilling undulating female vocals permeate the initial atmosphere, before crushing electric leads set the ungodly sanctuary ablaze. As the background orchestral music slithers into the main body of the work, drums are kept taut, like a boa tightening its grip around the dazed worshipper. Choked, Emperor-inspired vocals spew out incantations for Satan, whose presence manifests in the majestic displays of melodic blackness that shroud this track. The cursed female presence returns, and palm-muted riffs dance in ritualistic harmony with picado acoustics before the page is turned for the next evil spell.
Gorgan Wall (2:24 - 7:06) https://www.youtube.com/watch?v=dlCJ_hX02C4
Each of the conjurations of Decapitated Mystics of the Serpent contain scribblings of classic heavy metal despite being bound by the theme of symphonic black metal. The first few moments of “Humanoid” contemplate Metallica‘s magnum opus, “Fade to Black,” before skipping forward several chapters to lead licks ala Dissection‘s “Black Dragon.” Every track is dynamic and unexpected: vocal ink stains the same parchment as symphonic musical scripture.
Helzgloriam‘s grandiose tendencies are most apparent in the drumming. Passages of intense extreme metal paranoia are interspersed with lucid, refined moments of thoughtful, diagnostic percussion. These moments juxtapose nicely against the intense presence of melodic stringed instruments that carry each track – a live show would necessitate the Czech National Symphonic Orchestra, ala Dimmu Borgir. The strings provide the broth; the classical piano seasons the introductory movements of “Invisible Tower of Death” before flutes flash in the pan of “Tēsifōn” and the song dissolves into a boiling cauldron of chaos.
At their most potent, Helzgloriam administers a deadly serum dripping with misanthropic intent. In moments of respite, intricately-layered symphonies of strings and chorals hearken back to the esoteric mysticism of ancient Persia. Decapitated Mystics of the Serpent contains plenty of both. Incendiary sermons to a mesmerized congregation enhanced by orchestral vigor ensure a viscerally satisfying underground Satanic ritual.
FFO: Emperor, Dimmu Borgir, Old Man’s Child, From the Vastland