Rex Diabolic

05/11/2024

Nothing better than a little Satanic drama… I’d hardly call someone who’s on drugs most of the time a genuine occultist.

Observe!

Ofermod have severed ties with Odium Records and the parasite behind the label who is the main composer of the fraudulent circus act called “Black Altar.”

Riding and staining the legacy of Ofermod in order to promote and give value to his meaningless “musical outputs.” This confirms that clown individuals like “Shadow” are incorrectly connected to Black Metal.

The misuse of magickal seals of an esoteric current that he doesn’t/ and will NEVER belong to IS a direct violation. Satanism and the currents connected to it are NOT a dress up game and should be treated with RESPECT.

To anyone interested in the esoteric understand that it takes time and honest conviction. You simply can’t pick up a book on occultism and plagiarize the authors works like he does in order to make himself seem “authentic”, it’s a SEVERE sign of disrespect.

Don’t support this low life parasites label or outputs if you deem Black Metal of any importance to you. Be honest with your inclination and the path will open up to you. Like with everything in life, honesty and integrity is everything and Ofermods legacy will NOT be watered down to some spiritless clowns agenda for “fame.”

Do NOT buy or support the releases at Odium Records, above all do NOT buy anything he released related to Ofermod because it’s been deemed unworthy, this also includes the split. There will be represses of everything in due time with the intent to continue to honor the legacy of Ofermod.

We also hope that Niklas Kvarforth backs out of any deals relating to Shining because Shadow is looking to capitalize and leech off of Shining and it’s outputs.

Support bands that are HONEST with REAL spiritual conviction that have ACTUALLY walked the path and aren’t pretending for the sake of “fame.” Immerse yourselves in the works of our allies, namely:

Dissection (Official), Marduk, Funeral Mist, Sjunde Inseglet, Mortuus, Serpent Noir, Nox Formulae, Eleventh Ray, ABIGOR, LVCIFYRE, ect.

Below, a photo of Belfagor burning Black Altar merchandise. Our will be done!

05/11/2024

03/11/2024

Album Review
Shaarimoth
“Devildom”

Origin: Røyken, Viken, Norway 🇳🇴

Genre: Death Metal

Label: World Terror Committee

Prepare to evoke His presence - The Desolate One - Satan himself: lord of the Earth, and to submit yourself unto the spiraling spiritual madness of His rage and of His ecstasy. Norway’s Shaarimoth have returned! And it was upon Hallows Eve that they awakened from their 12 years long be***al slumber, bearing infernal gifts from the diabolical macrocosm known as the Norwegian death metal underground. On October 31, as Warlocks and Witches cast their necromancies by firelight; invoking His humble minions to the majesty of ritual, and as the foot of His throne writhed orgiastically with condemned spirits awaiting summoning’s call, Shaarimoth released “Devildom” via WTC Productions.

An occult-themed ode to Him is “Devildom” - a ritualistic experience that details one’s transcendence through rebellion into the Satanic darkness to which we all shall return. Only the darkness and existential dread of Satan is real! And with “Devildom”, there is no Lightbringer to illuminate the passageway, divinity out of reach as we traverse these black Aeonic pathways into the realm of diabolically evolutionary death metal.

The only band I feel comfortable comparing Shaarimoth to is France’s Necrowretch. You could tie some of this material to Morbid Angel if you try hard enough, but “Devildom” is so much more powerful than anything Morbid has ever released. Morbid Angel’s idea of what constitutes Satanic music is rather remedial or even childish compared to this album. There are compositional similarities here and there, but the idea behind “Devildom” is to bring The Devil into our presence, so that we can experience first hand His energy - a diabolical template for his unyielding power. Something beyond what even some of the most occult-driven black metal bands are capable of. Salutations and formulas linked to Him and set to death metal of a most primitive consort. Ghastly bellows, Daemonic growls and booming proclamations resonate into the void of every album cut’s cold-chasmic atmosphere. Primal rhythms to spark the blackest flame and complex progressions to scramble the senses, leaving you bewildered and helpless before Him. “Blood Covenant” - a brilliant alternation between “Covenant” era Morbid Angel-worshipping passages and martial, almost danceable Marduk-like rhythms; a seductive invitation, a ritualistic incantation to echo through the abyss…

Following an intoxicating interlude in “Into Everlasting Darkness”, “The Voiceless Call” unfolds to blackened tremolos that domino into hefty grooves and plowing grinds - jaw-dropping harmonious passages and entrancing melodic sequences to cast you into the thralls of ritual once more. An epic! The finest example of this band’s brilliant multifaceted vision of true Satanic death metal: chaotic yet refined and melodic yet brutal, but arranged systematically as to provide an experience that one would want to take in over and over again. A truly exhaustive ride, but in a good way is “Devildom”. A stellar representation of diabolism at its apex and unleashed during this, the darkest age of humanity.

“Devildom” is for the courageous soul who fears not the Left Hand Path and where it leads. Not your cartoonish Deicide bu****it, but music for the true believer, the worthy and the bold. Fear thee not the ways of Satan! You may just be astonished… Shaarimoth - more than just a death metal band - harbingers of His message; an assurance of strength and passion unbridled: lustful, enthralling and irresistible.

Captivation: 10/10
Cover Art: 9/10
Concept: 10/10
Production: 8.5/10
Revisitability: 9/10

Final Score: 9/10

Experience “The Impulse of Rebellion” from “Devildom” by Shaarimoth right here as presented by WTC Productions:

https://youtu.be/ibvjs9Iejn8?si=AENdrET_aUsDe1NU

~Jeger

03/11/2024

Classic Review
Death
“Individual Thought Patterns”

Origin: Altamonte Springs, Florida, USA 🇺🇸

Genre: Technical Death Metal

Label: Relativity Records

When breaking down any Death record, it’s important to understand the idea behind its creation. Following “Scream Bloody Gore” and “Leprosy”, it became apparent that the art of death metal was one to Chuck Schuldiner that perhaps stood deserving of more dynamics, of more passion and of more importance! And so a journey through the segue between what divided the depraved from the brilliant and into the realm of the human condition did Chuck and we venture. Only the world’s finest death metal to track the experience into sound. Following “Leprosy”, Chuck took us by the arm and into where spirit, body and mind take their inevitable courses…

The gore s**t wouldn’t last. Chuck was too smart for it, not like some Neanderthal like Barnes or some good ole boy like the Tardy brothers. Chuck was a searcher and his lyrical ventures detailed themes like the loss of intimacy, spirituality, misanthropy and the psychological. “Spiritual Healing” = spirit, “Human” = body and “Individual Thought Patterns” = mind. See what he did there? Still think this dude was just a DM caveman like Benton? A warm and a sensitive soul; a man not so fit for the world of death metal was Chuck, but nonetheless, the man just brought out the very best in every artist he worked with, whether he was Hoglan or Rozz. A band? Not the vision for Death. Only the most complex and talented session musicians were worthy enough to contribute to the cause, as Death was the product of Chuck’s vision and his alone.

Chuck was a master guitarist but also a master engineer. We’re talking mad scientist stuff that pushed the very limits of what was even considered proper for death metal back then. His work was studio perfection from his modest early works, all the way through to the boundary-raping “The Sound of Perseverance”. As the project evolved, so too did recording, and in 1993, Death released their classically inspired specimen of engineering known as “Individual Thought Patterns” via Relativity Records.

The very best of the era in the zone and just making every other death metal band sick to their stomachs. Solos like something out of the future and still unrivaled to this day - all those brilliant classically inspired parts in complex but martially grounded in what’s musically proper album cuts: “Overactive Imagination” and “Jealousy” - quasi-melodic and uber-technical - just casually ass-ploughing the competition and making it seem so fu***ng easy was Schuldiner and crew. “Individual Thought Patterns” was the first album to feature Gene Hoglan as percussionist and it was the only Death album to be recorded as a power-trio with Chuck, Hoglan and bassist Steve DiGiorgio. The dynamics and the cohesion shared between these musicians is Jedi-level. “Greatest death metal album of all time we shall make…”. A coveted balance between all phases where each depends on the next and reciprocal is the energy as elaborate yet calculated exchanges between the rhythm section set the stage for Chuck to just fu***ng blow our minds with his “hold my beer” guitar antics.

Tackling lyrical subject matter pertaining to duality, finality and polarity along with various states of visceral being, outcomes related to decisions made based on emotion - the mind - a convoluted s**t-hole that’s been made to seem like something worthy of exploration by Chuck. Wisdom beyond his years and an astute observer of human nature who so passionately translated his inquisitive nature into song; resulting in groundbreaking music that simply could not even have been emulated, as none possessed the same level of musical insight as Chuck. He was just better than everyone and that was probably due to him as a child in a would-be state of separation anxiety had someone tried to pull him away from his guitar to do kid stuff like shoot squirrels with a pellet gun. Yeah, kids used to do stuff like that…

“Individual Thought Patterns” was also Death’s final true tech-death record before Chuck began to incorporate various other influences like melo-death into their sound in albums like 1995’s “Symbolic” and the aforementioned “The Sound of Perseverance” that crossed more boldly over genres and into the spheres of the melodic and of the radical. A true tech-death record; one that would serve as inspiration for other great tech albums of the era, namely Monstrosity’s celebrated “Millenium” LP.

There was this weird obsession in the 90’s with putting creepy kids and old people in metal music videos. There’s plenty of that action during the duration of the otherwise stunning visualizer to “The Philosopher” - only the band in all of their pro DM-executing glory: snaking bass lines, exotic leads and Gene’s signature touch behind the kit to close out the greatest tech-death album ever created…

Chuck Schuldiner’s legacy is one of tragedy but mainly greatness. His every album held influential sway over the entirety of the extreme metal scene and his music has been vastly studied and valiantly emulated the world over. The Godfather of Death Metal? Not quite, that honor belongs to one Jeff Becerra (Possessed), but to say that death metal as we know it today would not exist at all if it had not been for Chuck and Death’s groundbreaking contributions would be an understatement.

When class, character and kittens converge, you get a guy like Chuck Schuldiner - taken from us way too soon and one can only imagine what the world of extreme metal would be like today if he were still with us. To explore life through a project called Death was the paradox, and it was one that inspired some of the most intelligent music ever made by some of the greatest extreme metal musicians to have ever penned a note. Bands have gotten all silly with tech over the years in their attempts at trying to show off what great musicians they are, but for Chuck, creaming everyone’s jeans with dynamics was secondary. The mission was to first explore and then to express - Art 101 philosophy, and all the bells and whistles? Just the band having a good time. Ha! Yeah, just calmly dominating the world of death metal like dudes playing a hand of poker. The greatest guitarist and the greatest dude. Here’s to the futility of being a good human being and to the memory of one whose passing only solidifies the notion that there is no God… Here’s to Death and here’s to Chuck. Rest in power, old friend…

Captivation: 10/10
Concept: 10/10
Cover Art: 8.5/10
Production: 10/10
Revisitability: 10/10

Final Score: 9.5/10

Experience “Individual Thought Patterns” by Death right here as presented by Relapse Records:

https://youtu.be/yjLIwidBubg?si=hNBgruPy81lT4u6t

~Jeger

03/11/2024

Classic Review
Mercyful Fate
“Melissa”

Origin: Copenhagen, Hovedstaden, Denmark 🇩🇰

Genre: Heavy Metal

Label: Roadrunner Records

Iron Maiden? Let’s talk influential heavy metal bands for a minute. The first wave of black metal: Venom, Bathory, Celtic Frost and who? That’s right, Mercyful fu***ng Fate… Enthusiasts rarely attribute first wave foundation to the latter, but ever listen to Darkthrone? Mercyful Fate not only influenced their fellow heavy metal bands/artists, but their cross-genre influences are what make MF the most important heavy metal band to have ever recorded a note. Pfft… Iron Maiden - a fu***ng traveling circus. Anyway, Mercyful Fate have also been credited as initiators of the early thrash movement along with the second wave Norwegian black metal scene.

When Mercyful Fate hit the scene with “Melissa” in 1983, it was to the horror of Christians the world over. “The Coven” as the height of all this supposed controversy. Apparently, it’s one of the most detestable-to-holy-ears songs ever written. Jeez… Glad those 80’s - 90’s Bible-thumping days are over. Much of this band’s lyrical delvings into the realm of LaVeyan Satanism were something the world just wasn’t ready for, even though LaVeyan Satanism is in fact the un-Satanic path, as there is nothing spiritual there and there’s a bit more to Satanism than hedonism, fu***ng every chance you get and thinking you’re smarter than everyone, but I digress… Other more imaginative and influential concepts include Egyptian mythology and romantic Satanism as detailed in tracks from “Melissa” like “Curse of the Pharaohs” and “Satan’s Fall”. These themes would again be more than just perused by the likes of bands such as Metallica in their 1984 “Ride the Lightning” LP with the legendary “Creeping Death”, Slayer’s “Seasons in the Abyss” music video and as far as Satanic concepts are regarded, “Melissa” literally served as the gateway to the universe of Satanic metal. King Diamond accomplishing much for Satanism and for His Infernal Majesty, despite his ultimate position as an atheistic “Satanist”.

Hank Shermann - co-founding member and lead/rhythm guitarist and Michael Denner - rhythm/lead guitarist both mythically in sync during the aforementioned “Satan’s Fall” as they remain in tight orbit to one another, all the while as they rip out unique solo after unique solo to the intertwining groove of Timi Hansen’s bass guitar parts; pulsating with torque just beneath the surface of it all. Salutations to Him in “Black Funeral” and humble worship of Him before His altar in the closing titular cut. Still trying to figure out what all the fuss over “The Coven” was over when these other tracks dive so much deeper into the pits. King’s oft unspoken falsetto talents behind the mic are ample throughout “Melissa”, and percussion as played by Kim Ruzz serves as little more than the glue that holds everything together, as was the 80’s way before drummers got all fu***ng uppity.

Above all other superlatives, it’s rhythm guitar that really shines through the mix: those rhythmic chugs and the harmony between both guitarists is simply unparalleled. Just old-school headbanging s**t to get that geezer heart of mine pumping all that cholesterol through my dad bod… Like Dio’s “Holy Diver” but souped-up to the point that Dio and his band just sound like something out of Monty Python and the Holy Grail in comparison. Is that a coconut? Arguably the greatest heavy metal album ever written is “Melissa”, and that’s due to dynamic range. Way ahead of their time were all members involved in this project: the flamboyant progressions/time changes, the radical-for-its-era cover art and King’s dual threat style of singing across and along with the melodies as opposed to one-dimensional singers like Ozzy, the above mentioned Dio (late) or John Bush (Armored Saint) who only do or did one or the other. And just the cinematic quality of his every maniacal laugh, siren-like wail or despairing drawl like s**t out of a really fun spook house nightmare.

Mercyful Fate are still widely-heralded today. The entirety of Darkthrone’s latest album, “It Beckons Us All…..” is an homage to their great influence over the early Norwegian scene and basically every heavy metal album written post-Melissa has followed similar compositional blueprints and like themes, just not quite as boldly or with as much zeal as Mercyful Fate. The band had some balls back then, and King’s voice as the voice for Satan rang with ominous authority over the outrage of churchgoers. An opus! A huge accomplishment for extreme music and the catalyst to Satan’s ultimate conquest over the gestalt of metal.

A cross-genre hybrid heavy metal band, not just a cheesy NWOBHM band are Mercyful Fate - an active group today, just waiting on that new album, which will be their first new LP release since 1999. King has also been active with his self-titled King Diamond project as a touring band. A new LP out of KD will be their first new full-length since 2007’s “Give Me Your Soul… Please”. The forthcoming LP is titled “The Institute” and is apparently due to drop before year’s end. I’d wager that we probably won’t see anything new out of Mercyful Fate for another year or so. Patience! After all:

“The Devil is at work in times of slumber…”

~Infernus (Gorgoroth)

Captivation: 10/10
Concept: 10/10
Cover Art: 10/10
Production: 10/10
Revisitability: 10/10

Final Score: 10/10

Experience “Melissa” by Mercyful Fate right here as presented by Metal Blade Records:

https://youtu.be/O8xEf298XiQ?si=Lt5GMnFWgvTeW0x8

~Jeger

03/11/2024

Classic Review
BEHEMOTH
“And the Forests Dream Eternally” (EP)

A Black Metal Tribute to Bathory Completely Recorded by Nergal

Origin: Gdańsk, Pomerania, Poland 🇵🇱

Genre: Black Metal

Label: Entropy Productions

Long before Nergal became the champion of Polish liberation from Catholicism and a gambler with his freedom, his band Behemoth began much like every other black metal band: with some shoddy recording, homages to Bathory, some remedial guitar riffing and more than just an affinity for Satan. Their early recordings? Not like “The Satanist”, not brutal nor refined and not larger-than-life like we’ve come to expect over the decades, just genuine black metal a la early Bathory, Darkthrone, Mayhem and Marduk. And into dreaming forests of ancient times we venture now under blood moon and beneath His austere gaze - spellbound by the chilling yowl of great daemons through the solstice gale and wolves running the hunt. A tribute to Quorthon yet versatile and independent - true black metal done the Polish way. In 1995, the now intergalactic Behemoth released a very humble piece of Bathory worshipping gold in their “And the Forests Dream Eternally” EP, unveiled via Entropy Productions.

I have the attention span of a four year old, so I dig EPs and not the bu****it ones that feature a cover, a live track and some B side deep cut that no one gives a s**t about. “And the Forests Dream Eternally” followed Behemoth’s debut LP, and what an unsung triumph for second-wave black metal. Through the myst of intoxicatingly melodic passages are we propelled upon finesse beats and crisp splashes of the cymbal. Scarce are blast-beats and no tremolo riffs, only rolling Dissection-like melodic progressions that unfold to the same kind of disciplined Ole Öhman-esque cadences - the glue and the foundation to the filth but also to the majesty as the highly visual “Transylvanian Forest” opens up the experience to the sound of vultures mingling as they tear through their prized carrion just before the dry buzz and the basement stink of crusty Polish BM ensues. A brilliant alternation between black & roll grime and rich melodicism. Nowhere to be found is anything that actually sounds like today’s Behemoth.

I would’ve guessed Finland. Sounds like a cross between the misanthropic melancholy of Sargeist and the sonic warmongering of one Satanic Warmaster. Naturally, this EP could’ve served as inspiration to said projects, as it most certainly has for countless others, and as bands like Funeral Winds and even Sacramentum come to mind during the enrapturing “Moonspell Rites”, it’s to Nergal’s wraith-like growl - a beautiful contrast to the brutishness of his current style. The mystery behind the great transition between this undisputed BM reign and what this band eventually became is one that both frustrates and tantalizes. Frustrating to the black metal warrior but a vast leap forward for the blackened death monger. I definitely fall into the former category. Why Behemoth steered away from the heartfelt and downright stunning nature of such blessed black metal and into the realm of aggressive brutalism is beyond me. They were onto something here and was it ever glorious. Behemoth have explored more soulful tones, particularly through their polarizing, “I Loved You At Your Darkest” LP, but never again through the most precious dark art of black metal.

A comprehensive recording that sees the band venturing into the realm of Venom worship during “Pure Evil and Hate” and into the dreamlike sphere of melodic BM as so strikingly lain out during the closing track, “Forgotten Empire of Dark WItchcraft” - like a “Storm of the Light’s Bane” deep cut that strikes up those olde familiar images of beguiled angels lying frozen in Winter’s frigid bounty; black metal for the Witch as she enchants The Devil before her with ancestral spells of ancient days forlorn. And the music: a blackened feast of grime, melody, epic, occult and misanthropy - A little BM 101 as professed by black metal’s own wayward son.

An international powerhouse of blackened metal has Behemoth become since the turn of the millennium, and the music is only secondary to the great blasphemous works of one Adam “Nergal” Darski - the one who challenges and who condemns Christian totalitarianism over Poland, all the while as he creates some of the world’s most influential blackened death metal. “And the Forests Dream Eternally” has aged as beautifully as Thunderbolt’s “Black Clouds Over Dark Majesty” and speaks to a time before revolution when under the Black Mark did Adam stake his claim. Simpler days, simpler music, but Behemoth would prove to be something a little too, well, behemoth for black metal. So, on they’ve stormed the blackened horizons; challenging divinity and trampling Christendom under their boots. I generally despise blackened death metal, so I’ll just pump the brakes right here and leave this little gem at your disposal. To dream eternally! And to the forests… A solitary throne there sits, one that signifies the spot once held by Behemoth in what was their briefly sanctioned, undisputed place within the world of true black metal…

Captivation: 10/10
Concept: 9/10
Cover Art: 9.5/10
Production: 9/10
Revisitability: 10/10

Final Score: 9.5/10

Experience “And the Forests Dream Eternally” by Behemoth right here as presented by Metal Blade Records:

https://youtu.be/RQ3dQM1zQfc?si=81B9xQDSBceiFnf-

~Jeger

03/11/2024

Visit MetalBite at MetalBite.com! And check out my interview with Tampa death metal legend and Massacre_TheOfficial_BandPage’s own Kam Lee. Dig it like a grave!

https://metalbite.com/interviews/2775/massacre-with-kam-lee-vocals

02/11/2024

Infernal Cuts
Gorgoroth
“Carving a Giant”

Official VideoclipArtist : GorgorothAlbum : Ad Majorem Sathanas GloriamSong : Carving A GiantYear: 2006Track : 2

02/11/2024

Classic Review
Gorgoroth
“Pentagram”

Origin: Bergen, Norway 🇳🇴

Genre: Black Metal

Label: Embassy Productions

I used to attribute a certain level of rawness to Gorgoroth’s ‘94 debut “Pentagram” LP, but that’s was during a time when I was becoming acclimated to the genre. Of course, as the years have gone by, I’ve discovered true raw black metal, have listened to much of the material that was released during that era and now understand just how in tune and in touch with what makes for the true Satanic, Norwegian black metal experience Gorgoroth were in comparison to the competition: Mayhem, Emperor, Satyricon and Darkthrone - all worthwhile contributors to the cause, but lacking in the intimidation department when stood up next to Infernus and his gaggle of Hellspawn. Open support of church burnings, theistic/gnostic Satanism, local Christian communities in an uproar and the whole Venom on steroids look to legitimize Gorgoroth as one of the quintessential black metal bands. And “Pentagram” made any and all second wave output feel like child’s play.

“Pentagram” struck fear into the hearts of teenaged parents in Norway. Gorgoroth were feared and admonished by churchgoers as the threat of Norse fury loomed steeple-lined horizons during a time when blood, fire, sacrifice and Devil worship defined the movement. 29 minutes spent in His presence, a sojourn within the warmth of His invigorating energy as tracks like “Ritual” and “Under the Pagan Monolith” soundtrack your stay. Images of great summonings being performed; the sweat and the heat of ritual’s fire under moonlight crested monuments of ancient times. Subtle thrash influences here and there as the ear candy to an otherwise brutal experience: “Katharinas Bortgang” and “Huldrelokk” (instrumental) - a patient sort of aggression as temped blasts drive forward maddening riffs that enthrall and even arouse - steady as blood flow and as unrelenting as torture. No finer example of true Norwegian black metal outside of Darkthrone’s Unholy Trinity in my opinion. Gorgoroth didn’t need to burn anything down or murder anyone. The intimidation factor and the message came by way of what was perceived by the herd as horrifying music and of course their imposing image.

Gorgoroth mastermind, Infernus? The greatest of the Norwegian troubadours. Despite his questionable associations with Gaahl and King ov Hell, which was like when Tommy Gun got mixed up with George Washington Duke, he’s always displayed the deepest understanding of what constitutes genuine BM as realized through classic records like “Pentagram”, “Antichrist”, “Under the Sign of Hell” and “Quantos Possunt ad Satanitatem Trahunt“ that have been so deservingly celebrated over the years. And whether it’s been Hat, Pest or Atterigner at the helm, the Gorgoroth experience has always been one dedicated to Satan.

I actually lose a bit of respect for black metal bands like Emperor when I listen to albums like “Pentagram”. How could you have gotten it so wrong? (Never been an Emperor fan). The right way is oft the simplest and for Gorgoroth, the creation of black metal has been a matter of hard work and allowing for the knuckleheads of the early days to vandalize while they simply let the commanding nature of the music speak… For the most part anyway. Not to dazzle with uber-dynamic passages and epic symphonic/keyboard elements, but to genuinely homage Satan with music that encapsulates everything that He represents: strength, power, passion, rage and war. The pre and post King & Gaahl eras were and are simpler days; the very best of what Gorgoroth has had to offer and that includes the openly accessible yet still fu***ng Gorgoroth, “Instictus Bestialis”. Meat and taters as opposed to some fancy sushi s**t… Real deal Satanic black metal, truly Norwegian and quite frankly unforgettable is “Pentagram” - no finer example of true Satanic black metal.

Captivation: 10/10
Concept: 10/10
Cover Art: 10/10
Production: 10/10
Revisitability: 10/10

Final Score: 10/10

Experience “Pentagram” by Gorgoroth right here as presented by Black Metal Promotion:

https://youtu.be/RWHiHQ72zTk?si=1x1MYmKQzQ1-o2Ua

~Jeger

02/11/2024

Album Review
Neon Nightmare
“Faded Dream”

Origin: USA 🇺🇸

Genre: Gothic / Doom Metal

Label: 20 Buck Spin

Type O Negative worship? Yes, please! USA’s Neon Nightmare - the solo project of one Nate Garrett (Spirit Adrift) - a spirited adaptation of Peter Steele and the legendary Type O brand of gothic / doom metal. Even the cover art of his brand new “Faded Dream” LP is reminiscent of those glorious days of Drab Four legend. When Peter died, it left a void that no artist or band has dared to fill until now, and this worthy tribute hits the spot in ways that only albums like “Bloody Kisses” and “October Rust” can. A carbon copy? Yes, sir, and a remarkable one if I do say so myself: those low-dragging bass lines, enchanting keyboard overlays and Nate’s deep baritone vocals? A more-than-valiant emulation of one of the greatest gothic metal vocalists of our time. On November 1, Neon Nightmare and The Bensonhoist Le***an Choir released “Faded Dream” via 20 Buck Spin.

Like myself, Nate Garrett has obviously spent a f**k-ton of time listening to Type O Negative and “Faded Dream” will sn**ch out your soul and transport it back to ‘96 and Type O’s aforementioned / famed “October Rust” and unforgettable tracks: “Be My Druidess” and “Love You to Death”. Is there any better place to be? What a way to start off my Saturday; like a teenager discovering Green Man for the very first time. Red lipstick-stained Merlot glasses, rose petal baths, black painted fingernails and ci******es all over again! “Faded Dream” is a welcomed blast from the past for those of us who were born before ‘83 and who actually experienced the ‘90’s at the perfect age when the discovery of heavy music, s*x and drugs were all that mattered. And Peter Steele was our muse - that clever self-deprecating wit and such intelligently crafted music - a spirited romp through the realm of dark elegance, but also romance and infatuation.

Take this one in by candlelight! Drink wine straight from the bottle and maybe even blow a line or two in honor of the greatest; a precious life taken from us WAY too soon. Underneath his vampire brute persona, Peter Steele was a gentle soul. He enjoyed lifting weights in solitary, working on his car and even expressed a desire to get back into his catholic faith before he passed. He no longer wanted to live believing that life is all for nothing. Such is the plight of middle age and Type O’s “Life Is Killing Me” was a rare peek into the soul of the Green Man, just as Neon Nightmare and “Faded Dream” are a lens into what made Type O Negative the unique band they were.

Seven tracks, just over 40 minutes worth of pure, unfiltered worship. Some idiots will undoubtedly admonish “Faded Dream” as a copycat record, but those of us who’ve missed Peter so, will welcome it like the warm embrace of an old friend. After all, that’s what Peter was to many of us. You didn’t have to meet him in order to feel close to him. He let us in through Type O Negative’s music: into his darkly jesting and sarcastic way of life, into his heart of gold… “Faded Dream” - just what you’ve been looking for since the despairing year of 2010 when Peter passed. Just what we need now in this, the Autumnal season of Hallowed eves, hearth lit basements and Vampiric romance. A passageway into the heart of the night we once knew when youthful fires blazed through barren trees into crisp moonlight and the frenzy of uninhibited rebellion reigned to the sweet sound of mystifying gothic metal done the Brooklyn way. Enjoy.

Captivation: 9/10
Cover Art: 9/10
Concept: 10/10
Production: 9.5/10
Revisitability: 9.5/10

Final Score: 9.5/10

Experience “They Look Like Shadows” from “Faded Dream” by Neon Nightmare right here as presented by 20 Buck Spin:

https://youtu.be/OyfYpMF8s_g?si=geqDq1r_S0SEASP9

~Jeger