ISRATHOUM : MONUMENT OF BRIMSTONE
Spikefarm Records
Israthoum have been doing the rounds since 1992, but have taken their time developing what is to be their defining sound, with just a scattering of demos and one other full-length extant. Their steady determination has definitely paid off, however; “Monument of Brimstone” is an excellent record, with mature, considered song-writing and plenty of lethal intent packaged into its 45-minute duration. Even if the band haven’t created the widest ripples in the metal scene’s communities previously, this album should go some way to amend that, lobbing a furious, seething black metal boulder into dark waters.
That the band have origins in Portugal, before their relocation to Rotterdam, and recruitment from the ranks of Dutch musicians, is somewhat reflected in a style that isn’t defined by worship of anyone else’s scene – it’s not the black metal of the Low Countries, nor is it overly indebted to the Scandinavians. Sure, there are plenty of elements which evoke the ‘classic’ second wave; from the raging, hateful riffs of opener “Wearing You” to the driving, fierce tempo of “My Death Grotesque”, and there’s also a distinct Dissection influence (the latter song actually gave me slight shivers of Ophthalamia instead), but throughout the album the impression is given of a band very much in charge of its own creative directions, living in the now rather than the yesteryear.
“Soul Funeral” gives a taste of how Israthoum are often boldly different; beginning in the vein of a demented, black metal Motorhead, replete with guttural vocals and a skin-crawlingly dirty feel, it throws in some spoken word, a shedload of bass and even some twinkling effects to emerge as something quite magical. “The Slanderer” takes some unexpected twists and turns as well, being characterised at first by a mean, low riff, but later bringing in subtle clean keys, and an unexpected burst of clean vocals. “Fire, Deliverance” throws yet another spanner in the would-be labellers works, with its warm, acoustic folkiness.
Israthoum’s black metal has enough reference points to make any listener instantly comfortable, but feels varied, creative and passionate. The Necromorbus sound was a perfect choice, with the guitars kept hard-edged, churning and creepy, the bass high and the vocals (if I can read my promo material correctly, guested by no less than Kvohst) absolutely feral. If you were looking to take a chance on an unknown black metal band, I would wholly recommend you scout out this album – chaotic, harsh and dark, it won’t fail to please.
83/100
ELLEN SIMPSON
