New album 2019 in the vein of De Mysteriis Dom Sathanas album!!!
It has been unendingly fascinating and profoundly rewarding for this reviewer to follow Mayhem over the last 25 years. The chimerical beast has presented manifold forms and styles within the black metal template, whether it’s the earnestly youthful nihilism of ‘Deathcrush’ or the too-clever-by-half mindfuck of ‘Ordo ad Chao’.
Indeed, one of metal’s most remarkable facts is that Mayhem has been darkly blessed with two stunning vocalist/guitarist duos throughout its history, being the Dead/Euronymous and Maniac/Blasphemer dyads. If the band only ever had one of these combinations I would consider them outstanding; having had both suggests a deal with the devil.
It was with significant disappointment, therefore, that the eventual exit of both Maniac and Blasphemer occurred. Yes, Attila returned for ‘Ordo ad Chao’, but when sole musical creator Blasphemer hung up his sacrilegious boots after that album I thought it might be time for the band to finally fold. After all, bringing in Teloch – the third guitarist and songwriter in Mayhem’s existence – seemed like a bridge too far and a move that was doomed to fail. The compositional engine-room was drifting further and further away from the essence and purpose of the band. From a songwriting perspective, it was third generation Mayhem.
‘Esoteric Warfare’ was all the evidence I needed to have my suspicion confirmed. A sterile, alienating release, it made little sense sonically, thematically and lyrically. Yet history has now shown how Teloch has redeemed himself. ‘Daemon’ is a triumphant and august work that channels everything great about a Mayhem that I thought had been lost forever.
Firstly, the darkness, the detail and the atmosphere of this album are the products of a songwriting talent and compositional understanding that deserves great praise. The degree of care and attention that the music has received is abundantly evident. There are so many elements in the sound that reveal themselves through repeated playings; nothing has been rushed and no corners have been cut. The mastering is sensible and tasteful – there is no chance of ear fatigue and it all sounds relatively organic and free from over-production. The layering, transitions, effects and subtle details in the musical landscape are the sign of a band that is serious about creating meaningful and lasting art. It is essentially the opposite of 21st century Darkthrone’s throwaway weekend-metal releases, and it is an affirmation of true artistic achievement. I hope Fenriz has heard this album. One of the unexpected points of interest here is the broad spread of songwriting credits. For the mediabook edition, with two bonus tracks, Teloch, the overseer of this anthology of anthems, has written the music for eight songs and the lyrics for seven, while Hellhammer and Necrobutcher both have lyrics credited to them. Second guitarist Ghul – who is actually former Cradle of Filth guitarist Charles Hedger – has written the music for four absolutely cracking tracks: ‘Bad Blood’, ‘Malum’, ‘Of Worms and Ruins’ and ‘Black Glass Communion’. He also wrote the lyrics for two of these. The sense of unity and shared vision here is refreshing and effective; there is a true sense of a band.
The performances are unsurprisingly excellent. Hellhammer is the master of his drumming craft, playing with flamboyance and precision, while to his credit the drums sound organic, powerful and not overly triggered. Teloch and Ghul outdo themselves with the serpentine technicality of these highly melodic riffs. The confidence and ability on show is mesmerising. Even Necrobutcher, whose bass has taken a backseat since ‘Grand Declaration of War’ two decades ago, finally comes to the fore with some heavy work that reminds of the glory days of ‘Freezing Moon’ and even ‘Chainsaw Gutsfuck’. The sections here when the music stops to allow the bass to drive the moment are a sign of powerful confidence from the band and adds texture to the soundscape. Atilla, meanwhile, is a man of many voices, and this is probably his best performance ever for the band.
The songs themselves are varied and engaging. ‘The Dying False King’ begins with an energised riff that reminds of ‘Funeral Fog’, while ‘Malum’ is slow, ponderously heavy and supremely atmospheric. ‘Daemon Spawn’, with its haunting introduction, progresses to a doom-march from the depths of hell with its powerful mid-paced refrain. ‘Bad Blood’ includes a dexterous guitar solo, while ‘Of Worms and Ruins’ launches with an imperious tremolo riff before evolving into blasting glory. Final track of the standard edition ‘Invoke the Oath’ employs some subtle yet effective additional percussive tones that contribute to an epic and unholy atmosphere. Both bonus tracks maintain the magick and really deserve to be on the album proper.
The artwork and packaging is also worthy of high praise. The mediabook with slipcase is stunning, with evocative artwork and lyrics inside the thick booklet. Like the music on the disc, no compromise has been taken with the packaging; the degree of care that has gone into the visual component here is exceptional.
There is no denying a palpable sense of the ‘De Mysteriis Dom Sathanas’ style on 'Daemon', yet its distance from that classic ensures a paradoxical freshness and uniqueness. It's an evolution on from that album, not simply a copy. While not entirely perfect, and not quite as haunting as its immortal predecessor 'De Mysteriis', ‘Daemon’ is nevertheless as exciting as it was unexpected.
A homage to the band’s glory days, it is at the same time ambitious, modern and unique. I never thought I would see the day, yet here it is. It’s a triumph.
Official promo video:
Sample: https://www.youtube.com/watch?...
