The Meaning of Desecresy

It is customary to begin a new year with the setting of goals towards accomplishment and growth in view of the experiences had during the previous period. The present writing aims at putting forth some works that may enrich the serious would-be Hessian in their struggle to embrace an ever more complete vision of reality. As Brett Stevens has pointed out, an interest in the occult is part and parcel of the Hessian outlook as he searches for logical patterns everywhere, not allowing himself to be circumscribed by any authority. Of necessity, this interest in the occult goes beyond Judeo-Christian conceptions, even if for historical reasons a poisoned landscape of Judaized misconceptions and moralistic admonitions has to be tread through or around. Mythos, its relevance to human psychology and possibility, must be embraced, and for it to be embraced, its import must be studied through pre-history and the whole of civilizations. While the scoffers will decry what they cannot allow themselves to rationally accept, they will remain in the grips of one or another mythos. Such is the curse of the atheist, the rationalist and those who belong to the democratic crowds. Allow mythos, vision, and hunger for life unite a distant past, the present and a distant future. The way is forward, paved by the billions of skulls of the meek who would inherit this planet, ascending to the heavens, beyond the stars and into far off galaxies.

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Gevurahel – Un Nuevo Amanecer Satánico (2019)

Coming back not with a reformulation or evolution of their sound but a deepening of their purpose, Gevurahel give us a new presentation of old and new compositions that fine tune their expression of satanic devotion. The musical style has been boiled down to essentials of unity and comprehensibility, letting the variation and exploration take place in a more controlled way. These designs are not random nor do they respond to a musical urge, but rather to an inner insistence upon necessity with respect to purpose. That is, the direct opposite of music for its own sake.

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Treblinka’s “Evilized” – Song Analysis

There was this short period of time, when death metal sounded really gloomy. This type of death metal was sometimes considered as black metal, which was judged back then not as much by used techniques, but rather by imagery, themes and atmosphere. When black metal proper was defined, for lack of a better name, the term dark metal, which over the years garnered various applications, was sometimes used to describe this style of death metal.

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Irillion – Fatanyu (Self-released, 2019)

Ostensibly positioning themselves somewhere between the exalted primitivism of Demoncy and the “flowing” school of Eastern European black metal, Irillion emerged as one of the more promising black metal-acts of recent years with 2016’s Egledhron. Not so much for their choice of style, but for displaying courage to move beyond established forms in intuitive pursuit of the most effective and far-reaching mode of expression. This recently released second EP entitled Fatanyu retains the sonic signature and raw, essentialist approach evident on the debut, but trumps the debut in terms of composition and stylistic refinement.

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Fester – Silence (Lethal, 1994)

Back in the day, this Norwegian band was derogatorily referred to as a “life metal”-band by scenesters. Especially their sophomore effort Silence suffered a reputation of being an exceptionally weak, pretentious and – above all – boring release. Although recent years have given rise to sporadic reevaluations of the band’s work, Fester remains largely neglected to this day (and some would say deservedly so).

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ASSESOR – Invaze (Globus International, 1990)

Donning their debut album with a medieval-styled, black-and-white cover that looks more like a qualified sketch than a finished statement, Assesor went into music history as the first underground metal band in Czechoslovakia to score a record deal. Spearhead-status notwithstanding, Invaze stays firmly rooted in 1980 death/thrash extremity rather than tapping into the burgeoning death- and black metal movements. What ultimately makes Invaze a rewarding listen is not so much a question of stylistic preferences, but how the band expand upon an established form in order to transform it qualitatively from within.

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Richard Brunelle Dies at Age 55

It is with sadness that we mourn the passing of Death metal legend Richard Brunelle who passed away on Monday. His sister in law delivered the following message.

“This is Richie’s sister-in-law. This devastating post is at the request of my husband and his mother. It is with deep regret and sorrow that we inform Richie’s friends and fans that he passed away. Please feel free to visit the link to share memories and condolences. Rest in peace, Richie. You were so loved and will be forever missed.”

Though much debate has been sparked about the extent of his role in Morbid Angel but considering how the band declined after he left, it is safe to assume he had an essential role and more importantly had a much more classic style that was able to reign in and concentrate some of Azagthoth’s crazier ideas. Conjecture aside it is well known that he created by himself this beautiful piece of music found on Blessed are the Sick

https://www.youtube.com/watch?v=iZPKBAnkEaE

Rest In Peace Richard, your legacy will never be forgotten!!!

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Darken – Darken (Defiled, 1998)

Although it might disappoint some readers, it’s probably advisable to begin this review by stating that this is not a lost recording by a well-known Polish musician. However, the music does fall somewhere within the black metal sphere. Darken is a three-track EP released by guitar-virtuoso Toby Knapp, presumably conceived as an attempt at writing and performing music in the language of mid-to-late-1990s melodic black metal. Joining the multi-instrumentalist on vocals and as lyrical contributor is a certain Necrotriton, while drums are obviously computer-generated.

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