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Blood - O Agios Pethane
Review: Blasting power grindcore hybrid bears the darkness and ambient rolling riff chaos of a black metal band into charging and violent music revealing the subconscious primitivism and regression in human thinking. Dust-encrusted throat turbulence mars the percussiveness of perfectly rigid collision riffs, but underneath the conflict move unfolding classically European melodies with a hint of medieval music in their trenchant cyclic emphasis on returning to a stable state.
With rigid and vast low-end vocal percussion accenting the seemingly paradoxical drumming style of thrash music Blood thrust forward their songs at an epic clip of attention, despite the detours of tempo and simple riff variation to provide chorus of bridge. Blasting accumulative violence serves often to connect songs with driving simplifications of major themes to hurl obscurity at the listener like a puking angel. As individual instruments, musical voices are single and repetitive but when placed together they function like an ocean of pinwheels, reflecting a chaos representing many iterations of the same order.
Song structures evolve to allow intrusive chaos to create momentum refreshed by the the underlying violent conflicts holding this music together, bonding simple elements of song into substructures for assembly. The sensation in the mind of the listener is often similar to that of someone pursued down a maze with many possible pathways, always switching attention to explore a new option or return to a discovered pattern. The abusive thrash of this approach ratifies the hybrid core of this music.
In its obsession with violence and conflict, but insistence upon moments of lucidity to unfold the content of each song, the music of Blood asserts the philosophy of black metal in its postmodern revelations from the obscure, but in its tactical practicionership of destruction Blood is the product of DRI-style thrash and thundering metallic death like Master, Baphomet or Carcass. Aesthetics and imagery fill more of a black metal conceptual role, with topics and techniques in lyric writing similar to those of Dead Infection of Poland, or to a lesser degree, Carcass and Repulsion.
The same broad simplicity that allows comparisons to death metal and grindcore also outline the black metal heritage behind the ambiguous and often mocking riffs in this music. Often deliberately simplistic-sounding and harmonically offensive or ridiculous, these riffs appear early in songs before the melody has come forth in its darkness and dissonant ambiguity under otherwise definitive, strongly expressed chords in a rhythmic code of downstrumming. Hybrid as this nature is it brings a paradoxical, beautiful spirit to deliberately ugly and violent music.