I was lucky enough to catch some of this album live when this London based act supported Wiegedood. At the time I mentioned that I hoped the album would find its way to me and lo it has. This is the fourth one from the act who started out as a one-man project helmed by Dane Cross also of Dawnwalker. In 2019 he decided to form the project into a quartet and hit the stage expanding their sound in the process. They had already created a scene strop among the kvltists with debut self-titled album of 2017 featuring a beaming faced Dane on the cover looking like the shot was taken in midst of a nice sunny holiday. “How can this be black metal” came the indignant chorus but it was and perhaps a canny move as it certainly got some attention at the time. Other albums followed with equally odd cover-art but here we get a completely different grim and grimy tableaux centred around the themes of the 1381 Peasants Revolt to revel in. Revolution and beheadings are the narrative and nobody should be complaining this time around.

Dipping back into medieval times might be nothing new but with it Sacred Son have made a compelling history lesson centred around a short intro piece and 4 epic-length numbers. Once scene is set with ‘Pestilence’ (every BM fan should know the significance of 1349 and the arrival of the black death) guitar shimmers in and we descend into an abrasive plague pit of pounding drums and hoary yells. It’s thick and full bodied and despite a mix by Randall Dunn strikes as particularly Engelosh (sic) sounding and far removed from Cascadian counterparts. With atmospheric mournful slow parts this 13-minute behemoth draws the listener into tragic times with bodies littering the streets and the scent of putrefaction lingering in cloying fashion in the air. Moving between drive and storm, the sound of horses clopping down narrow allies and some whispered vocals ala Dani Filth its easy to let your imagination run riot as the peasants do just that against the ruling classes. Apparently Le Blakheth is an “anti-villeinage sermon” and no doubt with its swagger and vehement strife a song Wat Tyler would have been proud to use as a marching anthem. Sacred Son are good at creating drama and with rousing backing shouts and fist-pumping bravado this is a glorious battle cry which you can experience in part via the video below. Complete with a midsection that has a macabre Carach Angren sounding ghoulishness to it there is plenty to immerse yourself in here.

Richard II’s part is chronicled in ‘The Boy King.’ He regained control with an armed mass of forces leading to most of the key revolutionaries being executed. The start of this fittingly sounds like a slow march to the gallows and the instrumental part is indulgent before the intensity and battle heave barrels in on this bloody slice of history. At full drive it’s relentless with huge roars in the distance, I expect the lyrics will be included with the full disc and you will be able to follow them as you take in the full scope of the carnage. Covid caws, a slow beating drum, acoustic guitars and clean vocals are at the start of Vengeance I & II the final assault building and taking back to folky medieval times. There’s also so excellent accompanying vocals from Dolls singer Jade Ellins before the rug and comfort zone is pulled out from under feet leading to a massive fiery conclusion which is guaranteed to have historians and black metal fans in their element. This could well be the album that brings Sacred Sons to a wider audience and unless their self-released status is self-chosen should start getting labels lined up to sign them.

A fitting album for a time when a peasants revolution seems ever more apt after a modern plague has caused countless death’s, the only sorrow here is that history is still repeating itself.

(8/10 Pete Woods)

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https://sacredson.bandcamp.com/album/the-foul-deth-of-engelond