By Nathanas Trismegistus

Revenge – Strike.Smother.Dehumanize; released May 22, 2020 by Season of Mist, or, rather, Season of Mist’s redundant and utterly insipid “Underground Activists” sub-label. Seriously, I’ll never understand the significance or necessity of the distinction. But who cares? A new Revenge album! Or, at least, that’s what all the milquetoast, wannabe-underground, crater-dome, knuckle-dragging, super-stratum-dwelling, superficial, bullet belt-wearing, battle vest-bedecked poseurs have been clamoring for. The fleeting, unwashed masses have flocked around Revenge for one, very simple reason. Their music – while, superficially, abrasive and brutal – is vague enough in the subject matter of its lyrical content to be socially acceptable or politically correct; and, therefore, marketable. That’s why bigger labels, like Season of Mist, are willing to publish their content. That’s why mainstream metal magazines and websites are willing to endlessly sing their praises.

Revenge needs no introduction. Every hack internet music critic knows who Revenge is at this point. But for the average Joe Q. Public who may have accidentally wandered onto my blog, I will give you a concise biography. From the ashes of Conqueror – a beloved, underground Canadian war metal band comprised of Blasphemy guitarist, Ryan Förster (AKA “Deathlord of Abomination and War Apocalypse”) and Cremation drummer, James Read – Revenge was formed by the latter, but without the former. Their musical styles are similar enough that one could consider Revenge the only legitimate spiritual successor to Conqueror. It should be noted that the same sentiment could also be expressed about Death Worship as it possesses the same line-up as Conqueror. What can I say? The Canadian war metal scene – or Ross Bay Cult – is very incestuous in that regard.

Revenge’s music can be broadly described as war metal, or black/death metal. It is aggressive, fast-tempo, stampede of blast-beats and grinding, low-tuned guitars. What distinguishes Revenge from your garden-variety war metal band is J. Read’s ridiculously skillful and idiosyncratic percussion. It’s like if Hellhammer filled less with his double bass and more with his toms. In fact, I suspect that Revenge has only managed to coast by on J. Read’s drumming prowess and clout alone.

The problem I have with Revenge is not that I think their music is terrible. It’s that they’ve outlived their relevance as a band—as artists. The same, I think, could be said, in general, about the Ross Bay Cult. The scene might as well be dead. It’s essentially on life-support, sustained solely by certain parties (not naming any names, but you know who you are) who wish to capitalize on nostalgia and dupe useful hipster idiots, who are into “retro”, “underground” music, into purchasing a repress of or merch for a 30-year old album. Blasphemy can’t write any new material. Conqueror no longer exists. Any new music must be released, for some reason, by a proxy band with a different name and tedious variations or combinations of old line-ups. And Revenge (you know, the subject of this review) has to release the same album over and over again. Granted, they did attempt to diversify their sound with 2012’s Scum.Collapse.Eradication; but, I think, by the time Behold.Total.Rejection came out, in 2015, people had finally just had enough. People just got sick of buying and listening to the same album repeatedly. Just looking at these album covers and layouts Revenge seem to have mastered the process of commodifying and industrializing their own content. Every album looks, feels, and sounds the same, like a good, familiar cookie-cutter product should. The sound is so consistent throughout their career, in fact, that I have to wonder if they’ve been using the exact same gear to record their music for the last two decades.

The only microscopic, exiguous difference I can glean from Strike.Smother.Dehumanize is that they’ve dialed back the terrible, repetitive solos. The frenetic, chromatic, atonal solos which are emblematic of the genre appear only infrequently throughout this album; and, instead of bare, overdriven tone, they seem to be oversaturated with a modulated filter this time around. J. Read’s drumming sounds even punchier in this album, but that can be merely attributed to slightly bumping up the ratio knob on the compressor or limiter during mixing.

So, how did I feel about the album? Meh. That’s it. It’s like depersonalizing, eyes glazed over, awash with the harsh sound of your drill instructor harshly berating you for your failures at boot camp. If you ask me, Revenge peaked with Infiltration.Downfall.Death and probably should have ended with Scum.Collapse.Eradiaction. If you’ve already listened to either of those albums, then you’ve already heard Strike.Smother.Dehumanize. I can’t recommend this album only because I don’t wish to condone this sort of behavior. It’s not bad. It’s not the total rejection of originality that is Behold.Total.Rejection and it is marginally better than Scum.Collapse.Eradication. I won’t lie, I did find myself banging my head along every now and then. I’m not immune to the allure of Revenge’s infectious grind. In the end, though, it’s just tired and overplayed. Strike.Smother.Dehumanize is no more essential than any of Revenge’s other albums.

Listen/buy here:

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By Nathanas Trismegistus

Blasphamagoatachrist – Bastardizing the Purity; released March 27, 2020 (yeah, I’m really late on this one and will be late on the next couple of reviews, too, as I’ve been regrettably indisposed) by Nuclear War Now! Productions. It is the debut “full-length” (disputable as it doesn’t even manage to reach 30 minutes) of said war metal super-group. They released a demo in 2018, “Black Metal Warfare”, which was met with mixed reception. Will this album be viewed more favorably? If anyone actually listens to it, ultimately, I think it will.

I describe Blasphamagoatachrist as a “super-group” in the same way I would Death Worship. It consists of the legendary vocalist of Blasphemy, Nocturnal Grave Desecrator; two members (the bassist and guitarist) of Brazilian powerhouse, Goatpenis (still waiting on that new album, guys); and the drummer of Antichrist (a band I had never heard of previously). Since we’re unlikely to see a new Blasphemy album (the band seems quite content with incessantly touring a single set with their one good album, Fallen Angel of Doom…, until they either retire or one of them dies) or a new Conqueror album (obviously, Revenge is their unofficial spiritual successor and you should keep an eye out for my review of their propitious, forthcoming album), these “super-group” collaboration bands and their satisfactory-to-mediocre output are, inarguably, the closest you’ll ever get.

There is enough diversity in the drums to call it “diverse”. It’s not spectacular. The bass does its job in emphasizing the guitars and cohering them with the drumbeats. The guitarwork on this album, however, is simultaneously more grindy and melodic, especially when compared to the demo. This indicates, to me, a predominance of the Goatpenis influence this time around, which is suitable considering they comprise half of the band. I don’t know if one or more of the other bandmembers was holding them back, I don’t know if there was some kind of disagreement in the artistic direction of the band, but the shift in style, focus, and musical approach between the demo and Bastardizing the Purity are very evident. Perhaps a compromise was made.

Nevertheless, I did read the DMU scathing review of Blasphamagoatachrist’s demo, but I didn’t think it was that bad. I wouldn’t have been that harsh. I liked it enough to buy it. It was knuckle-draggingly, troglodytic in its composition and caveman-style riffage. There’s a distinct lack of (or, at least, restraint and appropriate dispersion with) cacophonous clamor and obnoxious squeals this time around. But that style of music has its place and purpose. And, one might argue, that it was closer to the tone and style of Blasphemy. But, I agree, with regards to their review of this new album, that this is definitely a step in the right direction.

There isn’t much to say about the production quality. It’s raw, yet perfectly audible. Everything sounds real and honest. Nothing sounds too “perfect”. It’s about what you’d expect from this breed of metal.

I really hope these types of collaborative “super-group” bands aren’t expecting to can coast by on nostalgia and pedigree alone. Because they can’t. It might be immediately profitable, but, in the long run, people – even longtime, diehard fans – will get sick of it. Bastardizing the Purity is definitely worth a listen, especially if you’re a fan of Blasphemy and Goatpenis’ brand of war metal. It’s quite brisk (the longest song is only 3:21 long), so you won’t be wasting much of your time. It was at least superior to the latest Death Worship release, but that’s not saying much. Blasphamagoatachrist certainly suffers from a lack of J. Read drumming, but, in a way, so does Death Worship. Recommended, but not essential.

Listen/buy here:

During this increasingly stressful and chaotic time, the absolute KINGS over at Nihilistic Noise Propaganda are offering their entire backlog of digital releases to download FOR FREE!

If you enjoy black metal, death metal, war metal, power electronics or any combination thereof, definitely give their Bandcamp page a visit and follow them on Facebook! Payment is, obviously, optional, but I would strongly encourage you to return the courtesy in some way. If you want my personal, musical recommendation, check out Silvanthrone’s self-titled debut and Nexwomb’s Exegesis of Nihility.

I, Nathanas Trismegistus, am not affiliated with Nihilistic Noise Propaganda in any way. I wish only to spread the word and commend them for their astounding generosity.