When I was younger, I would obsessively follow the projects of artists I enjoyed, as I figured that liking something they were doing in one band meant I’d enjoy the output of another band in which they were involved. For the most part that proved true, so lucky me I got to enjoy twice as much music. However, of late plenty of the side projects can either be self-indulgent drivel or downright unlistenable (yes, I know that’s not a real word) for the sake of seeing if anyone shall still listen to it cos a name is attached. Thankfully this album does not fall into that category, and as I’ve never listened to Vallenfyre, I don’t even have to compare it to anything from there.
This is the second album by Stigoi which comprises of Paradise Lost’s Greg Mackintosh on vocals and guitar, Devilment’s Chris Casket on bass, Guido Zima on drums and Liquefied Skeleton’s Ben Ash on guitar.
It opens with the funereal “United in Viscera”, where the heavy plodding drums punctuate the slow chugging guitar riffs which have melodic accompaniments which thankfully remind me of ‘Shades of God’ era PL, but it’s Greg’s slow visceral (sorry) vocals that really impress me as every word is perfectly audible and understandable no matter how gruffly delivered.
“King of All Terror” is a completely different genre, with it being just over 2 minutes long and full of quick blasts and rapidly changing riffs, before it too hits a glacial pace and slowly fades out and into the slightly more mid-paced “An Ocean of Blood” where the guitar is both powerful and melodic, but still undercut with an eerie after tone that filters through to put you on edge.
Heading back to grindcore territory, “Napalm Frost” has everything throwing down and the most manic pace possible for its 2-minute duration, but still manages to allow a short bass solo for good measure.
The medieval sounding “Hollow” is both haunting and mesmerising as it languidly makes its way from doomy to manic blast beats with the vocal cadence remaining steadfast throughout to anchor both extremes perfectly.
With a surprisingly more allegro feel to it, “A Begotten Son” uses harsh raspy roars over the black metal tremolo picking while still having the second guitar lay down a lead as the drums blast away merrily.
If not for the second guitar trying to distract you with uneasy tones and accents, “Bathed in a Black Sun” could pass as a steady paced song with unsettling choral vocals added to enhance the mood.
Very slow, but very, very heavy, “Byzantine Tragedy” has the growled but almost whispered vocals flowing over the guitars as the Middle Eastern tinged vocals warble along gently.
As we head towards the end of the album, “Redeemer” is the short blistering paced final gasp filled with anger and disgust, before the lengthy “Iron Lung” winds everything up with the claustrophobic sounding pitch changes in the background as the guitars appear to build up increasingly oppressive pressure to squeeze out the low growls. However, there’s still a guitar melody there for you to cling to as a lifeline.
Owing to being able to flip between extremes of pace, the able never becomes monotonous, but still manages to leave you with an uneasy feeling of dread long after it has finished.
(7/10 Marco Gaminara)
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