Ukrainian black metal? Members who have spent time in Nokturnal Mortem? ‘Elderblood’? Forgive me for at first approaching this album with a modicum of trepidation. Whilst the fad for NSBM that peaked around 2006-2007 in the UK has (mercifully) faded somewhat, it is undeniable that the genre still has considerable traction in certain parts of the world. Perhaps I’m a little paranoid but I always think it’s worth being cautious about the sort of thing that tends to walk the line somewhat – it sounds harsh, however guilt by association is how a lot of us tend to view socio-political subjects. Nevertheless, it could just be that Elderblood’s mainman Astargh had no idea of Nokturnal Mortem’s political views during his stint in the band so we’ll give him the benefit of the doubt. Given that most of the ex-members of Nokturnal Mortem have distanced themselves of past political affiliations, this only seems fair.
Anyway, onto Messiah – and it’s a lavish, epic assault of intricate and symphonic black metal that Astargh and drummer Odalv have created here. The competency of the musicianship is immediately apparent with both strings and percussion being delivered with that deft blend of precision and fury demonstrated so ably by Emperor on their landmark ‘Anthems to the Welkin at Dusk’ album.
The comparisons don’t end there however – Elderblood boasts an array of classical flourishes in the form of some high-quality synth sounds that lend their material a real sense of drama. Bands such as the much-vaunted Fleshgod Apocalypse may make vaunted claims of embracing classical symphonics in their music but in all honesty, two Ukrainian fellows have arguably made a better fist of it with their second album here. The strident swells in opener ‘Thargirion’s Sun’ for example are almost cinematic in scope.
Musically, it’s difficult to find fault with most of ‘Messiah’ – the juddering riffs of ‘Invocation of Baphomet’ are intriguing whilst the sinewy refrains of ‘Leviathan’ and ‘Satana’ build in a clever and compelling fashion. It’s only the In Flames-esque melodic riffing opening ‘Devil in the Flesh’ that really jars, feeling distinctly out of place.
This is more than made up for however by the album’s powerful closing one-two. ‘In Burning Hands of God’ launches into a flurry of dextrous guitarwork before ushering in a panoramic climax, soaring clean vocals of Astargh a dead ringer for Emperor’s Ihsahn. Finally, closer ‘Adamas Altar’ provides the sort of epic finale the album demands – simpler, slower, the central refrain plays out in both billowing orchestration and colossal metal to end ‘Messiah’ on a distinct high.
Whilst it’s always advised to tread a little carefully with Ukrainian black metal, there’s no denying the quality of the musical output from many of the acts – and Elderblood have crafted another stellar addition to the roster of releases from the region.
(8.5/10 Frank Allain)
https://www.facebook.com/Elderblood218
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