Ghost - Infestissumam

When the likes of The Devil's Blood and Ghost came on the scene a few years ago, one thing that caught my attention was their accessible sound. Honestly, if they were from the states and didn't sing about the occult, they would be BIG, plain and simple. Ghost would sign with a major label which was no surprise to me in the end but as discussed with a good friend last night, they have the image that will boost their popularity even further. The perfect package deal. The new album, 'Infestissumam' was certainly going to be an interesting offering just to see how the band would manage their new found stardom.

Well now, after hearing this several times, the evidence is clear. Ghost has gone from seeming like a small cult with 'Opus Eponymous' to a global occult empire with 'Infestissumam'. Hillsong better be careful because their arch nemesis has finally arrived. Just hear 'Year Zero' with its HUGE epic chorus and chanting and you can just imagine Papa Emeritus II lifting the entire stadium as one. It is the rising of something incredible.

'Opus...', as awesome as it is, practically becomes one dimensional compared to this. 'Infestissumam' is as daring as a pop album (yes, I said it.. POP) can get, and hell, does it pay off! Only minor elements of the eerie bounce from 'Opus...' remain here in the forms of 'Per Aspera Ad Inferi', 'Jigolo Har Megiddo' and 'Idolatrine' and 'Depths Of Satan's Eyes'. All great and catchy and even in an eerie way, feeling joyous towards Lucifer. But the real winners of the songs are the ones that meander, but so gloriously.

'Secular Haze' would be the perfect song to brainwash a circus full of clowns, acrobats and lion tamers into joining Ghost's new found gathering. 'Monstrance Clock', with its lifting chorus and endearing soar would lure any fan of real pop music from the 60s into their evil embrace and 'Ghuleh / Zombie Queen'? Well, that just might be the best thing they have ever done. With its hazing synths and eerie leads, it will hypnotize all the housewives while ironing their childrens school clothes with its dark, but beautiful ballad beginning before whisking them away into their dark lair when the pace arrives and the 'The moon is full, and shines an evil blinding light' line comes in.

In the end, this has been brilliantly done. Enough catch and simple song structure to lure the feeble minds to todays pop fan in and enough 'experimentation' in these structures to keep the fans from the beginning (the smart ones) intrigued. This is certain to pay off in an enormous way.

I think back to when I went to a Catholic High School and the ignorant ones referred to heavy metal (more the mainstream ones mind you) as 'Devil Worshiping Music'... Well, here is the New Wave Of 'Devil Worshiping' Music, only there is nothing heavy or metal about this one...

Ikil

Enforcer - Death By Fire

In 2010, Enforcer blew me away with 'Diamonds'. An album full of memorable and catchy riffs, great vocal moments with many memorable lines and each song was classic. Not to mention so reminiscent of the 80s. With such an amazing albums comes great expectation for their latest album, 'Death By Fire'. Again, an impressive effort.

What catches my intention right away with this album is how 'different' it is to 'Diamonds'. It is still Enforcer of course but a much rawer, much speedier version this time around. On 'Diamonds', it was dominated by twin leads and far more melodic. On 'Death By Fire', speeding riffs tends to dominate more (eg: 'Death Rides This Night' and 'Run For Your Life'). That isn't to say the former is missing as songs like 'Take Me Out Of This Nightmare' and 'Silent Hour / The Conjuration' carries that formula. Again, the riffs catch on and the lead work in sync with the bass lines brings classic Maiden to mind at times.

Olof's vocals have more force this time around. 'Diamonds' showed a much more melodic side and much more note carrying. This time the delivery is quick and sharp and the note carrying isn't much of a prime player. The song titles dominate the chorus lines making them even more memorable as well. My favourite moment thought would have to be on 'Sacrificed' where it is a great mix of the two styles.

Production wise, 'Diamonds' was clean. It had to be. It was far more melodic. 'Death By Fire' is raw. 'Diamonds' sounded like a classic album from an 80s band that made it big. 'Death By Fire' has that slight graze in the sound that makes it sound like an underground classic album from the 80s from a band that was too raw and too dark  in atmosphere to make it big. I prefer it this way anyway.

When ever I write about a Swedish band, I always write about how they can capture any sound from any period and make it sound perfect. Of all these bands, Enforcer is leading the way for me. Again, a wonderfully executed album that keeps the past relevant and fresh for all the right reasons. Superb.

Ikil

Kvelertak - Meir

The debut Kvelertak album was out of this world. It really was. It is still one of the best albums I have ever heard, I would even go as far as saying it is in my top 10 albums of all time. Sure, you are reading this and thinking 'bullshit', but this isn't about what others would rate it. This is how I rate. I listened to that album in my car, at home, just about anywhere, every day for about a month. That is how fucking good it is.

Now the follow up, 'Meir', is here. No doubt the expectation is gargantuan and in a way, that is going to hurt this album. I have taken the fair approach here and didn't set my expectations too high, because quite frankly, it would be near impossible to equal or better the debut album. Anyone expecting that, well, you set the bar too high.

To address that matter straight away, well, 'Meir' is no where as good as the debut. It is probably a little over half as good. But consider how BRILLIANT the debut was and that might give you some idea how 'Meir' fits in. It is still an exceptional album, following on from the debut but perhaps not as daring and not as mixing of all the elements from then.

The three core styles from the debut are here on 'Meir', rock, hardcore and those shades of black metal. The small doom/stoner moments of the debut are gone. That is a little disappointing to these ears but there are still enough chops and changes in the songs, plenty of catchy riffs  and melodies and perhaps more shades of black metal this time around that I am still very impressed.

And sure, when I say black metal, I don't mean a feeling of coldness, grimness and so forth. The tremolo riffing (eg: 'Trepan') or blasting (eg: 'Spring fa livet' and 'Snilepisk') brings the black metal to mind, only this is more like laying out a welcome mat to someone curious about black metal. One who stands on the outside of the forest under a sweltering summer sun before stepping into the forest and realizing they have been deceived as they discover it is all really cold, black and grim. I would even say the vocals are much dirtier this time around. Those snarls are sick!

There is still so much energy executed on 'Meir', it is so distinctly done too. Like one huge fist with great strike power. It is fierce! You can really feel the venom in a song like 'Snilepisk' and 'Nekrokosmos' for example. So much tearing away at things. What Kvelertak also manages to craft really well are those rock like 'anthems'. Listen to songs like 'Evig vrandrar' or 'Kvelertak' and imagine the response they would get from a packed stadium. No doubt they would have the crowd roaring 'Kvelertak' during the encore.

Sure, there is plenty of blasting, plenty of wicked lead work mixed with sharp tremolo riffing, catchy rocking riffs and walls of distortion but where it is unpredictable is you just don't know when things are going to change up. Listen to 'Nekrokosmos' or 'Tordenbrak' and there will be moments there where you think 'well I didn't see that coming...'.

Overall, on its own, 'Meir' is fantastic. Really, you couldn't come up with a better follow up. No doubt they will be catapulted even higher to stardom with this and understandably so. Not much more can be said.

Ikil