Formed in Brazil in 2010, Bode Preto – or Black Goat in their native Portuguese – have previously inflicted one EP and a full-length on the world. Given their origin and image, it would be easy to jump to the conclusion that they follow in the blaspheming footsteps of bands such as Sarcófago, Vulcano, Holocausto and, of course, early Sepultura. As it turns out, they not only correspond entirely to this assessment, they even go so far as to feature an original member of the infamous Holocausto, the now more moderately named bassist Rodrigo Magalhães. With this veteran onboard, the core duo of Josh S. (vocals, guitars) and Angeldust (drums) are evidently out for blood with ‘Mystic Massacre’.
And sure enough, beyond the keyboard inspired slasher intro, the album proves to be a story of wall-to-wall metal extremity. The carnage of ‘Deep Reality’ outlines the style of Bode Preto’s attack from the outset with bass and snare drums hammering, cymbals crashing and rabid riffs which, aside from the authentic Brazilian thrash-death-black vibe, contain definite layers of Scandinavian styled black metal. In this latter respect, quite epic, heavy chords wash over the listener as he/she is being assaulted. On top of it all, Josh S. breathes demonic vocal fire throughout. The unstoppable title track typifies the band’s style. Where on one hand it won’t win any immediate awards for originality, rather being a boot to the face of anything other than raw satanic brutality; on the other, details such as the closing demonic winds inject murky occult atmosphere. Features like this and the evident disregard for convention that the band has result in interesting touches throughout.
The fact that many of the tracks are roughly two minute blasts also lends the album a real flow. But with the likes of ‘Unknown Woman’, which adds an element of mystery via continuous notes on the fretboard, or ‘Wraith – The Stage and the Meadow’, where slow glistening guitar strains up the sophistication factor, Bode Preto ensure that there’s enough diversity to keep this black trip going strong. And at the end of the day, where utter violence is the only solution, they rip us apart with malevolent blasts like ‘Dirty Honey’ and ‘Feet of Clay’ – which evokes less a feeling of clay, and more one of being set upon with hand-tools of all dimensions. The immaculate production on ‘Mystic Massacre’ necessarily helps convey the band’s unrepentant message with such force. Combined with their predilection for Scandinavian black metal in some of the riff work, the end result is a remorselessly crushing yet engaging take on the traditional Brazilian formula.
As made clear from the start, ‘Mystic Massacre’ has one purpose: to maim whoever dares listen to it. Yet in addition to this, and what sets the album apart from some of those early one-dimensional expressions of aggression from the ’80s, is its enigmatic quality. The demonic rumblings, occasional harrowing slasher keyboard effects, and mix of unadulterated Brazilian barbarism/black metal aesthetics definitely elevate this above mere worship of the past. In fact it’s bloody good and an album which is sure to blow away any follower of those pioneering bands mentioned at the start, taking things a step further on just about every level.
(8.5/10 Jamie)
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