Some were born and baptized in the cleansing waters of Christian dogma, yet others, that minute contingent of subterranean radicals utterly condemned by society, were drowned in the blood of Satan than resuscitated to infiltrate our plane of existence. Norway’s GORGOROTH , possibly the most overtly evil, misanthropic and criminally viable black metal band ever most defiantly adhere to and practice the philosophies of the latter. Victimized and shunned by the hypocritical holy brigade (with accusations of rape, assault and forced blood drinking lending credence to their claims) GORGOROTH'S resume reads like a serial killer’s checklist. Recently they were even brought up on charges of blasphemy (an old, dusty and virtually obsolete penalty from the vaults nonetheless) in catholic subdued Poland, all because of their theatrical stage show, which consisted of three nude and crucified acolytes (two females and one male), decapitated sheep’s heads and intestines strewn strategically about barbed wire barricades. Rather imbecile if you ask me but it apparently still holds relevance in this day and age, due to religious culturised countries. Damn ecclesiastics!!! Good for GORGOROTH though and I’m positive it will up the ante of sales on “Ad Majorem Sathanas Gloriam” , their newest offering of sacrificial devil hokum.

Forged in the acrid fires of Gahanna itself, “Wound upon Wound” contains a repetitious riff that burns itself into your cranium like badly manufactured laboratory acid, nicely preparing your brain for the erosion yet to ensue. “Carving a Giant” is like its title suggests a behemoth. A steadily lurching and lumbering monster set to encapsulate, easily devouring all the servants of god desperate enough to try and quell its sojourn. Although, I am still perplexed about its meaning. Next time a lyric sheet just might be beneficial. Percussion maestro from hell, Frost (1349, SATYRICON ) provides the sledge artillery wielding his drumsticks like Thor’s hammer. One blast in particular singularly omits such a menacingly powerful and violently decisive forces that it makes me want to smash in the faces of every ugly and moronic human I see. That’s “true” black metal there!!

“White Seed” begins oppressing and suffocates in a whirlwind of nearly indecipherable white noise yet eventually or (in GORGOROTH’S case), inevitable segues into a great and excitingly studious mountain of rifforous euphoria. Infernus conjures demons in wait, like Faust with a guitar. Once again, I am curious about the intent of its written word content (hopefully nothing racist, though endorsement could be feasible if necessity applies.). An inpeneratrable bleak fog permeates the entire cd but if its maudlin grievance served with a twist of revenge that you want then nothing can dilute the downtrodden mysticism of “Sign of an Open Eye”. Slow? Yes, Dreary? Indeed, but none the less does it suffer from its lack of speed. Its omnipotent power lies in its ominous deliverance, simplicity, and Gaahl’s indecipherable rabble that places one’s heart in the sulphereic pits of shattered melancholy where it belongs. I sternly advocate the implication of blades, pills, intoxicants and artillery during the brackish drone of this suicidal mantra. After all, one more non-contributing and talent-less clone will surly not be missed.

The final casting is heaved up from the bottomless pit in the molten lava monstrosity that is “Beauty and Posterity”, stoic and scary, frazzled yet haunting, it is steeped un grandiosity and a subterranean vibe that oppresses like no other track on offer.