The Hallow Mass - Denial Of God
- Denial Of God
- Release date:
- October 25, 2019
- Osmose Productions
Two steps forward, one back
I must admit that I'm a my disappointed DoGs third album. I had expected and hoped for more. I had hoped for a little more of the same experimental Though, as I found on The Shapeless Mass. Therefore feels the album regressive and not progressive, which is a shame, when they now have shown that they can think out of the box. It must be said, however, that the album is not bad, but it is also not a masterpiece. It is mediocre old school black metal a la Venom and Bathory just without the bite, as the two bands had.
30 years, three albums
It is not a long time ago, I notified the Denial of Gods EP, The Shapeless Mass – in fact, only a little under four months. Then noted I, that it was an EP that gave blood on the tooth, so therefore I was then curious as to how the band's third studio album would be. When the Denial of the Good goes in the studio, so it is not for fun. So is it because they have something to say – which comes to expression already in the album's first track, which lasts a little over a quarter's time. The total spillelængde will, therefore, also quickly up at over a clock hour remains applicable, just as their previous album Death and the Beyond from 2001 also did it.
Less is more
The album opens "Hallowmass" shows that the Denial of Good has evolved a little lately. The number has lots of keyboard, glockenspiel and rock 'n' roll attitude – in fact, we could almost believe it was a Generation-number and not a Denial of Good-number. However, have the number two problems. One is the length, although it is a good number, so it didn't last 14 minutes. The second problem is leadguitaren, who either do not vote completely, or is it the distortionpedalen, which is in pieces, it sounds simply too strident. It is a pity, for just the production and guitarlyden on The Shapeless Mass was one of the things that impressed me the most. However, it is a problem that primarily is to find on the first track, but quite good coming leadguitaren – unfortunately – never to sounds. I am fully aware of, it seems foolish to sit and talk about good/bad sound, when it comes to an old school black metal band. But when they now had just shown, that they had come on, so it seems like a weird step backwards. But something which they, perhaps, have taken with itself from The Shapeless Mass is adventurous. I praised them highly for having made a black metalcover of a caribbean calypsonummer, for it was both fun thought and relatively bold for such a conservative genre as black metal. A little of the legelyst is to find on the track "Undead Hunger", which halfway through is evolving from the classic black 'n' roll to acoustic circle-music, which makes one think of spaghettiwesterns. But where fun is a feature, it might be, so we are – again – out in a long number, that could easily have been three-four minutes shorter. But it seems that long songs are the album's general theme – and it is also not something I usually have a problem with – it just has to be done properly and make sense. I'm not seeing any reason to make a number of e.g. ten minutes, if the six of them "just" is the same riff, running in the ring constantly, without development or change. Quite weird it becomes, however, as the album's sixth track "A Thousand Funerals" begins, for unknown reasons so considered, However, that they just had to have two-minute organ-tam on the record. I'm with you on the idea of funerals and organ music, but why not incorporate it into another document, such as the previous, which is "only" ca. six minutes? The album's last track, "The Transylvanian Dream" (black metal-reference maybe?) yet a goal on eleven minutes, but unlike the other long numbers, so there is little more goods and meat on the album's completion, so it feels not quite as the same level.
>> Check the songs and lyrics here