Although in existence since 1991, a little research indicates that ‘Death and the Beyond’ is just the second album to be released by this cult Danish black metal band. Throughout their many EPs and odd split CD, a love of all things horror comes foremost – from the dark iconography of early 20th Century film-inspired artwork, to musicians who cite the Italian metal band Death SS as a prime influence. From what little I know of the aforementioned group, musical comparisons here are present albeit in an overtly black metal guise.

Following the eerie piano/dialogue of ‘Veni Spiritus’ comes ‘Funeral’, which compels us on our soulside journey with a punchy drum sound, death-march riffing and haunting proclamations of: “Funeral… Your Funeral.” Whilst apparent from the start that DoG take their art seriously, it is equally clear that they are not a musically po-faced black metal band – as the more up-tempo genius of ‘Behind the Coffin’s Lid’ resoundingly confirms. Try to imagine black metal paced like Trelldom with a couple of metalized Misfits riffs, and there you have the opening half of this particular track – as catchy as hell and an absolute highlight. As the ‘buried alive’ terror of this composition unfolds, more of an epic heavy metal – and perhaps Death SS – quality emerges to portray the tragic conclusion of this narrator’s life as “No one hears my screams…” Most notable is the passage marking the transition from living hell to cold death which guitar-wise, is reminiscent of a Western soundtrack. Elsewhere, elements of heavy, thrash and black metal continue to rear their respective heads as the record plays out its consecutive tales of terror and death. Given that five of the tracks here are pushing close to the ten minute mark, such musical shading is welcome indeed.

‘Bones turn to Dust’ is a model example of DoG’s varied audio ingredients. On one hand there are chilling, gothic sensibilities present within the melodic guitar parts and serpentine vocal work; on the other, flaying black metal guitar lines built upon a foundation of heavy metal, which towards the end verges on Slayer circa 1983. This track oozes melancholy and seemingly revels in the beauty of death. Mortality is clearly fundamental to the entire concept of the band, and their music does great justice to the contradictory emotions provoked by it. The differing styles reflect everything: from realisation and fear to resignation and release to ‘the beyond’. No track does this more so than the fifteen-minute-long ‘Pendulum Swings’, which incorporates a section of violin and atmospheric keyboard to heighten the spectre of death taking hold. Ustumallagam’s rasping, agonised shrieks suit the subject perfectly and contrast very well with the melodic, ethereal harpsichord(?) towards the latter stages of the track. The most effective parts for me, however, are the fast black metal sections which provide frantic impetus to the macabre, supernatural atmosphere; again driving home DoG’s appreciation for dynamics within their pulsating horror metal stew.

‘Death and the Beyond’ is a mournful experience. Irrespective of its stylistic leanings one way or the other, it is a consistently sombre, atmospheric hour of music. Having listened time and again, I now feel confident stating that this is a great album – especially as the more I hear it, the more Denial of God evokes comparison to early Marduk and Ophthalamia. This record is sure to make the band’s existent fans very happy indeed; likewise, it is going to attract a horde of new devotees such as myself. This is superb black metal.

(9/10 Jamie Wilson)

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