In the world of underground music that Ave Noctum makes its lair, there are any number of one-man bands, frequently in the niche corners of black metal, living in the basements of their parents whilst screaming evilly into a microphone with all the production values of a drunken karaoke night.  However, there are some notable exceptions to this rule of thumb, and Hour of 13 is one.  Now consisting simply of founder, lone constant member and multi-instrumental Chad Davis, after a near decade long recording hiatus, ‘Black Magick Rites’ is summoned forth by Shadow Kingdom Records, having previously been an online only blink and you’ll miss it release in 2020.

Album opener ‘His Majesty of the Wood’ nails the aforementioned Mr Davis’s retro-tinged flag firmly to the mast, the layered instruments redolent of early proto-metal phrasing, and lyrics that could have been transferred directly from the script of a Vincent Price starring movie.  This throwback sound continues with ‘Return From The Grave’, with more than a hint of early Sabbath in the darkness tinged riffs and Hammer horror story of the song.  ‘House of Death’ thunders out of the speakers with a neck wrenching riff that evokes an atmosphere of dark smokey clubs and sweaty denim; indeed, playing this track in bright sunlight would be practically blasphemous.

Title track ‘Black Magick Rites’ comes next, the guitars harkening back to the era when the likes of Budgie were creating the sound that would be laying the foundation for what would become heavy metal, mixing together heavy rock and psychedelia with dashes of the occult in direct contrast to the hippy-trippy peace and love that the establishment thought poured forth from Haight-Ashbury.  Indeed, all that’s missing is a keyboard to fully encapsulate the likes of Vanilla Fudge or Iron Butterfly, and considering his wide-ranging skills, I wouldn’t be that surprised if Mr Davis added that instrument to his arsenal in the future.  ‘Within The Pentagram’ turns the dial on the amps all the way to ‘Volume 4’, with respectful nods to the instrumental interplay of Messrs Iommi, Butler and Ward, the lyrics sharing the same love of Dennis Wheatley and Aleister Crowley.  ‘Harvest Night’ mines the same rich vein of folklore that has influenced artists as far ranging as film makers such as Robin Hardy and Ben Wheatley to bands as diverse as Black Widow and Green Lung, before the album is rounded off by ‘The Mystical Hall of Dreams’, Doom mixing with magic and hints of Lovecraftian Dreamlands cosmic terror.

The entirety of ‘Black Magick Rites’ is a testimony to the musical abilities of Chad Davis as both a writer and a performer, each element coming together with a practised ability that is more impressive when you consider that many individuals who would concentrate purely on guitar, bass, drums or vocals could not match the ability he spreads across each part.  Throw in writing that despite having only a single originator avoids the potential trap of self indulgence, and you have an album that any collective would be proud to produce, and is all the more remarkable when you realise its genesis is from a single creator.

(8.5/10 Spenny)

https://shadowkingdomrecords.bandcamp.com/album/black-magick-rites