DEATHSPELL OMEGA

"Drought" is an EP release by French black metal act Deathspell Omega. The EP was released through Norma Evangelium Diaboli in June 2012. "Drought" is available in MLP and digipack CD formats.

The music style on "Drought" is no surprise if you are already familiar with the last couple of releases by Deathspell Omega. Chaotic sounding, technical and experimental/progressive black metal is what you´re treated to. The band are exceptionally well playing, and "Drought" features a professional and powerful sound production that really brings out the best in the rather complex tracks. It´s a slightly less metallic tinged sound production compared to the last couple of releases which is something that seems to suit Deathspell Omega well. While the band´s "core" style is technically challenging and chaotic sounding black metal with raw raspy vocals, multible tempo changes and a sensibilty towards dissonance, there are also post-metal elements in the band´s style that need a mention. Both "Salowe Vision" and "The Cracked Book of Life", which bookend the EP, are instrumental post-metal tracks and have very little to do with black metal. The fact that "Sand" is also a bit different from the band´s trademark sound, makes "Drought" quite a varied and also entertaining listen. It should be noted at this point that all six tracks on the EP seque into each other to form a 21:00 minutes long concept piece. The individual tracks aren´t that long though, and the relatively short format works really well.

"Drought" might not be neither surprising nor a revolutionizing development of the band´s sound, but it´s a damn well written, well performed and well produced effort by Deathspell Omega and another proof of how skilled and inventive they are. A 4 - 4.5 star (85%) rating is deserved.

Deathspell Omega, starting in the year 1998, produced very Darkthrone like releases. From their splits with Mutiliation, and Moonblood; they were simpley known as any other black metal act. But one thing did stand out (compared to any other French act), and that was their lyrics. Yes, they did deal with satanism, but it had some sort of sophistication to it. Fast forward to 2004 though, they began experimenting with the same theme (satanism), but it had a much more philosophical/nihilistic point of view (much like the philosopher Friedrich Nietzsche) than ever before. These releases from then on were part of a "trilogy" in regards to their full lengths (their EP's dealt with the same theme. Their last release in their series of man, god, and satan, and the relationship of the three was titled Paracletus, and it was a great balance of Si, and their mini albums (without the ridiculous interludes like we heard on Fas). It was a much cleaner sounding release, and with that, it made every instrument more audible (which is something you need in regards to how vicious/technical this band can get). Now, fast track to two years later, and we have their latest Ep, "Drought". Clocking in at just over twenty minutes, we have something that is short, but sweet. It essentially picks up where Paracletus left off, and develops/matures their sound even further than before. There's some melody to it, but just enough to where you can make out what's going on (instead of the low quality in releases like Fas..which pales in comparison to this). In the opener "Swaloe Vision" it starts out very calmly-with acoustic guitars, and a creepy humming in the background-it sets the mood for what's about to come. It further develops into more acoustic guitar pieces, and then the drums kick in. This further progresses into more aggressive guitar work, and drum patterns (but still beautiful). It keeps building up until the storm hits you. The next track, Fiery Serpents (clocking in at 4:15) is their most punk sounding song to date. With blast beats surrounding you, and a beautiful riff (it's almost a metaphor for new life), it pummels you. But you want more at the same time. With Mikko's trademark growl/rasp it thrusts you into the fire. Mikko gets more deranged as the song proceeds, and almost sounds like he wants to tear the studio apart at one point. The next track, Scorpions and Drought adds some variation to the chaos, but it's enough to keep you thinking what's going to happen next. The drum work, and vocal approach in this song is almost too much at some point, but still manages to keep it cool with the slight melody in the background. Sand is one of the melodic tracks (probably their most melodic track they have released), but still manages to destroy you. With it's warm, yet crushing guitar tone, and different vocal styles from Aspa, it manages to create a contrast to the previous track. And it does it so well. Abrassive Swirling Mirk was one of the first tracks released before the album hit the market, and it still doesn't disappoint, and lives up to the name. With it's insane drum fills (which are inhuman), and Mikko's terrorizing voice it's almost as if the apocalypse is upon you. Ending with an epic semi guitar solo it sets the mood for the last, and most memorable song on the album, The Crackled Book of Life. This final track has the most variation on any Deathspell track than anything they have previously done. With it's catchy guitar riff, choral compositions, and absolutely devastating atmosphere, it pummels you to the ground. Absolutely stunning conclusion. Drought is a fitting epilogue to what they have done over the years with their astonishing discography. This album reenforces why they're the leaders of experimental/orthodox black metal. No other band has achieved what they have done in terns of musicianship, lyrical themes, and mystery surrounding them. Truly a masterpiece.

'Drought' - Deathspell Omega (10/10)

Yes, Deathspell Omega have gone punk. Yes, they have even pop. In fact, it's been recently announced that Deathspell Omega has been a weekend side project of Blink 182's Tom DeLonge, and through some coincidence, it has been misinterpreted as the continuation of a French band of the same name that broke up ten years ago. After such a cerebral and heavy handed album trilogy about theistic satanism, it's nice to hear Deathspell Omega throw away the evil and sing songs about pretty girls instead.

Jest aside, I can see why Deathspell Omega's latest EP "Drought" has been getting recognition as a change of pace for the enigmatic black metal outfit. They're still the same viciously technical bastards that they've been since their breakthrough "Si Monumentum..." record, but their sound is getting cleaner, and- I daresay- more coherent. For anyone who listened to their last full-length "Paracletus", this evolution from the unrelenting madness of "Fas - Ite, Maledicti, In Ignem Aeternum" to more concise song structures was predictable. Deathspell essentially pick up where they left off with "Paracletus", and with this comes a barrage of jaw-dropping complexity, malefic atmosphere, and some of the best flow I have ever heard on an EP. Black metal's greatest prog-enitors have struck gold once again.

On "Drought" and virtually everything they have done since "Fas...", Deathspell Omega create a quintessential black metal atmosphere, yet manage to do so with surprisingly few black metal conventions. Barring Aspa's trademark croak, and the occasional blast beat thrown between the inhuman permafills, Deathspell Omega have little now in common with the genre's core sound. The guitars are rapturous and dissonant, and may sound a little more like The Dillinger Escape Plan than I would like to admit. Amidst the confusion, there are plenty of thick grooves. Especially on a first listen, things can feel very chaotic, although- perhaps unlike the band's most challenging material- there's just enough melody and comprehensible rhythm in the music to make things coherent. Just enough.

Although the most exciting moments on "Drought" are the chaotic storms, a considerable portion of the album is devoted to some of the most melodic and mellowed ideas Deathspell have done since "Si Monumentum...". "Salowe Vision" is a wonderful opener, gradually building tension and atmosphere until "Fiery Serpents" erupts with the band's signature chaos. "The Crackled Book of Life" ends the EP in a heavier fashion than it started, although a beautiful melodic idea is hidden beneath the gradually fading rhythm. There are no stops in the music on "Drought"; though Deathspell have generally shortened the track lengths, the impression of a twenty minute epic- like their earlier "Chaining the Katechon"- is evoked to great benefit. Even the runt of the litter- the one minute "Sand"- has a place here.

For a long time, I have not been able to cite a band that's gone as far with the black metal style as Deathspell Omega. Even in making their song structures shorter and production cleaner, they still manage to sound as fierce and experimental as ever. I did not think that one of my favourite releases of the year would be an EP, but here it is. As a fan, I've been blown away once again, and as a reviewer, I can only give my highest recommendation. Absolutely phenomenal.

Deathspell Omega go pop!

Fine, not just there yet, but I'd think that if you were really keen to get into DsO, this is the release most likely to be the easiest to swallow. Yes, it still ain't easy, particularly for those unacquainted with the particularly raw and abrasive side of black metal, but I'm glad to say that the wheels are slowly and constantly turning in DsO headquarters, and their sound is changing. A few of the traits that could have been noticed from their last LP-Paracletus- shorter songs, more melodies, cleaner production, are carried at times even farther on this EP. What I had made it harder for me to enjoy "Paracletus", is what I like here. And even better, it has made me enjoy "Paracletus" more then I did before.

The shorter songs here, work for the most part very well in this 21 minute EP because DsO managed to create a flow in between songs that was apparent in an album such as "Fas- Ite, Maledicti, in Ignum Aeternum", a trait which I found was one very important for me in DsO releases. The whole, prog-influenced, take on the "album" or the "release" as a single flowing entity, is what makes DsO's albums and their just-as-strong slew of EPs a whole experience. And for the most part, with "Drought" this is pretty much the case. 3 out of the six songs could be seen as some sort of interlude or prelude.

The album opens with a track that I wouldn't expect out of DsO- "Salowe Vision". It is almost a post-metal/ post-rock instrumental affair, with big, thumping drums and dramatic floating piano and these thick guitar chords. The bass I would say, also displays a big part of the mix, which is quite a pleasant shock. From this very first track you can hear the new production and how well it works. The drums have never been clearer, the bass has never been more... there (it is usually thick and heavy on the treble and is actually usually quite intricate and interesting), the guitars have now taken a smaller presence, which maybe somewhat negates from the absolute wall of sound DsO could bombard, but has allowed the guitars a chance to achieve more melodic capability and possibility. So when it does reach the good old insane blast beats- they still make your mind into demonic jelly, but you can better understand what sort of demonic jelly. "Fiery Serpents" starts loudly, but shockingly melodic and almost beautiful. And the buildup to the blast beats is the first time very exciting. The blast beats don't get tiring with DsO- constantly intense, erratic, with the guttural vocals which work so well with DsO, half "singing" half narrating in their own Satanic, demented sort of way.

When things get truly insane with "Scorpions & Drought" (by the way I'm appreciating the decision to ditch the Latin. With the fantastic EP "Diabolus Absconditus"- the title was rather silly sounding), the guitars are so powerful- but manage to fully encompass the higher notes without compromising from the overall bulldozer of sounds. That is also a lot because of the drums, which are as always, absolutely mind blowing- an absolute power house like no band I have heard before, and also because the bass is there to truly support the wall of sound which consisted mostly of the raw guitars in previous releases.

"Sand" manages to play further with the melodic chord arpeggios which have already been displayed in "Paracletus" and is a short and successful, I guess "prelude" to what must be one of the most powerful DsO songs I have heard, and generally one of the more abrasive songs ever- "Abrasive Swirling Murk".

DsO manage to show that oh my flying unicorn they can be loud. Oh dear god how loud! And the groove that starts out this song! An absolute epileptic dream, with low guitars chords and this almost Latin rhythm! I swear if I knew how to dance salsa I'd dance to this! With that, the song manages to shift and turn and slide and slither and blast into this great, again more melodic bit, with a fantastic guitar melody, almost just melancholic, and not monstrous and Satanic. And the bits of ambient in this track- with these tiny bits of piano or synth or whatever it is- just pick on the ear and add great depth.

Things return to the weird atmospheric vibe of the first song "The Crackled Book Of Life"- another instrumental affair, which at first somewhat underwhelmed me but is now probably my 2nd favorite after "Abrasive Swirling Murk". A steady beat similar to "Sand" gives out to this epic bass and these wonderfully arranged strings- synths I think but maybe not. The creepy rising and dropping melodies which again give out to one of the more memorable guitar moments in a DsO. It in eventuality sort of breaks fades out with and in come these dramatic chorus synthesizer which ends the EP with a rather bone-chilling final gasp in a way.

It is safe to say, that DsO are going in a direction that I'm very keen to see them take. Who knows, maybe eventually they'll be on "Top of the Pops"? A favorable shift of sound is more than welcome, finally, to make our ears once again fall into an endless abyss of darkness and death, but an abyss more accessible than ever before. 9 kvlts out of 10 :)

P.S. the artwork on the EP pretty much instantly became one of my absolute favorites. Beautifully detailed, frightening, and just plain awesome.

Deathspell Omega's second concept album surrounding their philosophical contemplation of Satanic metaphysics is a real treat for those who don't mind (or positively enjoy) a little Satan in their metal and are interested in experimental black metal formats which stretch the boundaries of the genre. As well as including some intriguing quiet moments between its eruptions of black metal fury, the album is also significantly more varied than many avant-black metal albums when it comes to the actual rocking out - at points they create a chaotic wall of noise, but there's moments where almost traditional metal riffing will break out unexpectedly here and there. A complex and fascinating album.

The album with which started my long journey into the world of avant-garde black metal

Hello, it is here, by I "here" mean me, Frippism. Dropping a review after god knows how long...

I would like to review this here album by Deathspell Omega. They are a French avant-garde- technical-orthodox-black metal group. They have, without a doubt, released the single most terrifying album I have heard in my life.

Half a year ago I was almost completely unaware to one of the more interesting and "far- out" world of avant-garde black metal. When I saw reviews of this DsO album, with that, I was keen to try it out. Let's clear things up: I'm not a "metalhead" and never considered myself to be. I never really listened to metal until about 2 years ago, when Sleepytime Gorilla Museum blew my mind. I was completely unprepared for the challenge I had facing me. That's an understatement. I had no real idea what black metal was, neither of its origins or its infamy. So to skip a bit let me just recap my first listening to this album: all I remember is being absolutely terrified and confused. It felt like a sociopath- it was a claustrophobic and unnerving feeling. My ears could not truly understand what was going on, but with that, I knew there had to be more to this album than just noise, and that by disregarding it as just noise I would be closing myself to an absolute plethora of bands (which now with my growing affection of the genre haven't seized rewarding me with new sounds, approaches to songwriting and such).

But to the album!!! That's what matters, not my stupid rambling.

The best I can do to describe the tunes is this: it is pretty much black metal, only about 50 times more aggressive, abrasive, unrelenting, uncompromising, than any album I've heard from the genre, and is by far the heaviest album I've heard in my life (though DsO's 2008 EP "Chaining the Katecheon" is probably as heavy). After about 70-80 listens to the album, it's still hard for me to describe the album, beyond the term "black metal". It is obvious where the root of DsO lay, with that, I can't figure out what makes so damn unique. The absolute wall of distortion, which at first puts you in a state of bizarre dementia. The bizarre moments of ambiance, of silence. Most of all though, DsO has one of the strongest elements going for it with the drums. Dear god, I have never heard blast beats more incredible blast beats. When DsO gets fast in "Fas Ine...", the blast beats are so freaking fast. Moreover, the thing that shocks me most about these blast beats, is the weird asymmetric feel of his blast beats. It almost feels like his snare hits a tad bit off, but in such a good way. Can't really explain, you'll just have to listen. The vocals here, while of course being sung through growls and rasps- are some of the more interesting elements of DsO. A low growl which punctures your mind and scare the living crap out of you. May I also add, that the lyrics (not that you can understand most of them in the growling, but can just read them)- are by far the best lyrics I've heard out of pretty much any metal band. Mostly based on Satanic ideas, DsO does well what so many metal bands have done awfully. Their lyrics are thought provoking and address the many questions in the story of god and Satan, and instead of trying to go crazy "satan woooooooooooo", they manage to raise questions which were intriguing and powerful.

I feel like I can't really talk about the tracks. The album feels somewhat as a whole. With that, I feel as "Shrine of Mad Laughter" and a "Chore For the Lost" are absolute standpoints. With insane blast beats, some wacky time signatures and great songwriting. The two "Obombration"s are two absolutely terrifying ambient-ish pieces.

Overall, I feel that while the album isn't perfect (There are very few parts which drag a bit and could've been shortened), it is pretty essential. If you're looking for black metal, and you're not trying to ease yourself in at all, and just want to jump right into the most extreme, heavy stuff there is like I did, you can't go wrong with DsO. An absolute emotional rollercoaster, which is rewarding and thought provoking and challenging, but with that will at least curious you if you want to get into black metal.

Paracletus is the final album in Deathspell Omegas trilogy, and with its release, the trilogy comes full circle. (or should I say, triangle?) Paracletus is vastly different from the albums that proceed it; it still has the signatures of the Deathspell Omega sound, (chaos, dissonance, malevolence) but Paracletus is heavily focused on emotion and melody. It also features very unique sounding chanted vocals, and (in my opinion) has the strongest vocal performance of any DsO album. Paracletus creates one of the most Malevolent atmospheres that I have encountered in an album, it is absolutely dripping with spite and malice, and this malevolence only brakes for short moments of soul crushing sadness. Overall, this is a very good album, and it is more accessible than its predecessor Fas - Ite, Malidecti, In Ignem Aeternum, However, it is not a very accessible album. This is not an album for newcomers to Black Metal, SMRC is a much easier way to get introduced to Deathspell Omega.

Fas - Ite, Maledicti, In Ignem Aeternum is one of the most terrifying albums that I have ever encountered. It creates a dark, fervent, unrelenting wall of noise that destroys hope; leaving naught but despair in its wake. This is not an album that most people will enjoy. In fact, it is designed to be the exact opposite of enjoyable. Fas is 45 minutes of unrelenting violence and seething hatred, designed to incur feelings of abhorrence and terror; and it accomplishes exactly what it sets out to do. Fas can only described as organized chaos. It is erratic, insane, and discordant, but it is also beautiful; The cold, chaotic, soul crushing tale of the fall of a lost angel.

Deathspell Omega: Inquisitors of Satan [2002]

Rating: 2/10

Inquisitors of Satan is the second full-length album from the mysterious black metal band Deathspell Omega. While I am not normally a fan of black metal, this bizarre French group's later releases have impressed me with their experimental and unorthodox interpretation of the style. Unfortunately, however, Deathspell Omega were not always the creative unit that they are now. Before pushing the progressive envelope, the band created music that was the precise opposite of progressive. Their debut album Infernal Battles is one of the most horrifyingly boring pieces of muddy refuse that I have ever heard. This sophomore release doesn't fair much better.

To be fair, Deathspell Omega have fixed many of the glaring problems that were present on the debut. The production has improved by a significant margin. This is still a lo-fi album, but it is at least possible to discern what the musicians are actually doing. Unfortunately, what they're doing is terribly uninteresting. Like its predecessor, Inquisitors of Satan drones on with unceasing tremolo picking, blast beats, and screeching. This is a mind-numbingly monotonous 40 minutes of music. I feel relieved when it's over, not because it's loud or heavy, but because it's so interminably dull.

There are a few acceptable moments here, such as an occasional decent riff or vocal technique. However, these tiny things are not nearly enough to save this album from total mediocrity. Anything with a title like "Inquisitors of Satan" is difficult to take seriously, so it's not surprising how lame of an album this is. Everybody but the most hardcore fan of "kvlt" black metal should avoid this at all costs.

Deathspell Omega: Infernal Battles [2000]

Rating: 2/10

Infernal Battles is the debut full-length album from French black metal band Deathspell Omega. This enigmatic group is known for creating some of the most experimental, progressive, and boundary-pushing music within the black metal genre. In fact, Deathspell Omega is arguably one of the most important bands within the avant-garde metal scene. However, they did not always play this adventurous style of music. Before gaining a reputation as avant-metal monsters, Deathspell Omega played a simplistic and generic style of black metal that could not be more different from the complex and sophisticated music that they would later adopt.

I am not a fan of black metal, and albums like Infernal Battles demonstrate why. Everything about this album suggests a burning desire to be as uncreative, generic, and boring as possible. The recording quality is comically terrible. It sounds like the band traveled to their local Wal-Mart, purchased the cheapest department-store instruments they could find, took them into the bathroom, flooded the bathroom completely, and then pressed play. This production is absurd, even by black metal standards. The musicianship barely even qualifies as such. The guitars drone away with endless tremolo picking, the drums tap away in an interminable blast beat, the bass is nonexistent, and the vocals are typical lo-fi screeching. None of the songs distinguish themselves from one another; the album is nothing but 38 minutes of muddled droning.

Infernal Battles is one of the most boring and uninteresting albums that I have ever listened to. It represents every negative element of the black metal genre. Devotees of the more simplistic and "kvlt" areas of black metal may enjoy this, but I can't imagine that there are many people like that on this site. This album should be avoided by anybody looking for interesting, engaging, entertaining, or creative music. It's hard to believe how much Deathspell Omega has progressed since this.