The Black Gods and the Schoolchild
2012 year
was a real turning point in Chapel of Disease career. At that time, after four
years of rehearsing, they released a debut album called “Summoning Black Gods”
(introduced by a demo and 7’’ split with Lifeless). Musically Germans don’t
reinvent the wheel, as they offer well-known old-school death metal tunes. During
these eight songs, they summoned several gods and visualized them before my
senses. Names? The pantheon is easy to describe: Asphyx, old Pestilence, Bolt
Thrower, old Grave, old Death. And I want to tell you, this album is a kind of
a tribute to this 90-ies direction: these bands are the main inspiration for
the Germans. And even if it is totally impossible to count right now all the
new bands trying to exhume the old feelings and magic of mentioned glorious
bands, these Germans are definitely worth the trouble.
The album
is of full value. The first thing is a really great front cover by Andrei
Bouzikov. His awesome job with only three colors fits perfectly to the music
and Lovecraft (mostly) inspired lyrics. And even if they are bathed in obvious
sounds, this album isn’t a blind imitation of another grey copy-cat: from the
first seconds of the opening title track till the last seconds of “The Loved Dead”
they show the roots of death. These eight songs are rather simple compositions,
yet with own identity and something interesting to offer. The clear (but not
sterile!) production helps to hear all the good points of the album. The
musicians act in full consciousness while dosing the emotions through the
songs: admiration and ecstasy wave naturally with the best moments in
“Evocation of the Father” and “The Nameless City” in the middle of the album,
and during the last colossus “The Loved Dead”. The album emanates many layers
of mystery and grimness (the best example in “The Nameless City”), and I have
an impression that the sounds effectively fill my brain cells with an
unspeakable horror and choky morbid atmosphere. The band changes the tempo and
there is no song maintained in the same speed. And what is more, they didn’t
forget about melodic tunes. So, beside aggressive, straightforward riffs, the
band created quite memorable sullen moments as well, especially on the end of
“Evocation of the Father”, which is probably the best one here… Of course, the
melodic layers are used little by little, and they are played with a real
class, but the main killing force here are varied portions of riffs and guitar
leads in every song. Just take a listen to aforementioned “The Loved Dead”
lasting eight minutes, in the Asphyx vein, with almost two minute doom opening!
This roll crusher slashed my spine, definitely. Also it is the best track to
say something about Laurent vocal devastation, as he is a gifted schoolchild of
van Drunen. The vocals don’t bring anything new to the metal world, however
they are good supplement to the whole.
So, is it
possible to offer an exciting record that uses well-known and popular now (trendy?)
patterns? Yes, it is! If you don’t believe, check this album out. But, such a
tribute release is meant rather for die-hard old-schools metallers, or am I
wrong? Among many old school death metal newcomers, this band definitely seems
to be a better kind, bringing the sounds and emotions that I loved many years
ago. This murderous crew is like a time machine serving you a journey to the
old times, where only real death was reigning. In one interview (Chaos Vault
webzine), Laurent confirmed editor words about one Sarcofago “Nightmare” classic
song and ripping-off it in the beginning of “Dead Sphere”. Simply, they found
this piece a natural riff for their song, and they did it. No bullshit like “man,
we didn’t know that”, or “Sarcofago? Yes, but only first LP” and other stupid
tales. Thus, the attitude of the band is clear for me: a total dedication and
honesty in the music. Then, what do I want more? I’m closing my eyes, the
chapel is opening with the first seconds of the title killer, and the black
gods are taking a morbid shape: beyond any doubt, this album is a truly
impressive piece of metal.
90/100
-Tlacaxipehualiztli
(previously written for Encyclopaedia Metallum, on October, 2013)
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