Seriously Fucked up and Essential Label

No Visible Scars Cassette Label

No Visible Scars Cassette Label
No Visible Scars Cassette Label

WOHRT RECORDS

WOHRT RECORDS
WOHRT RECORDS

Malignant Records

Malignant Records
Mind melting electronic/ambient/industrial/ power electronics

Prison Tatt Records

Tuesday, June 19, 2012

Bestia Arcana – To Anabainon ek tes Abyssu (Daemon Worship Productions)




Originally set for release back in 2008 but ended up buried beneath the rubble of the disintegrated label, the resurrection of this true entity of ruin and disharmony by Daemon worship Productions couldn’t be more fitting.  The album opens up with the chaotic delirium of “Cup of Babylon”, and what a way to start out this psychotic and surreal journey through the foul and dissonant fuzz storm that is Bestia Arcana. Initially it explodes with angular guitar assaults and what sounds like actual explosions as the gates of purgatory burst forth unleashing a whirlwind of insanity that shall not be uttered as it is cursed such as the names in the book of the dead. The vocals are deep vicious growls behind the mix of barbed wire jagged lesions of lead shredding and the bombastic “booms” in the background heralding absolution through mortal destruction, then about halfway into the song the shift changes to a sprawling holocaust of dark psychedelic atmospheric black metal not unlike the scorching and suffocating atmospheres heard on the second Twilight album a few years back, before bursting back into the diesel powered barrage of buzzing riffs and horrendous inhuman growls. And that’s literally “just the beginning”, Bestia Arcana are like the Roman legions storming through Judea leaving nothing but rivers of blood and blazing infernos.

“The Poison of Mannaseh” comes in as sort of the middle chapter after the fires have started and blood has been shed with a constant and unrelenting buzz of death and some haunting atmospherics in the background to amplify the desolation and misery to a climactic turning point before leading into the dark ambient alien rumble of “The Pit of She-ohl”

“Feverwind” brings back treble buzzing, but the density and violence has been lifted like a veil over the mutilated corpse that was humanity and their habitats revealing the horrors that befell during “Cup of Babylon”. The percussion is ritualistic and smooth throughout this bastardized cinematic cascade that literally unravels horrors that the Holy can’t even bear to fathom. I can almost see a figure drenched in blood uttering the weird schizophrenic vocals of the “Feverwind”  in gruesome indecipherable phrases as it walks out from the fire and the shrieks of the people burning alive bring a smile upon it’s face.

“Shepherd of Perdition” is a return to the disharmonic “melodies” and lunatic ranting growls of the start of the grand massacre, now combined with symphonic elements and some chaotic outbursts as the bringer of death praises and rejoices in various further acts of defiling the remains.


Albums like this are further evidence that evil is born and not just bred, but also a reminder that black metal has not lost it’s ability to convey pure horror so approach this one with caution, it just might incinerate you on contact. Others may claim to be the real deal, but this one is the true form of Hells horrors as imagined by the so-called righteous that keep them pissing themselves in fear and wavering hypocrisy, if this is Hell then it certainly lives up to it’s reputation.


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