Goatblood – Adoration of Blasphemy and War ALBUM REVIEW

I judge albums by their cover all the time, and I have no shame in this. Despite the fact that I thought this cover was fantastic, it was also in the category of “this is a potentially really awful album”. Anything that’s very lo-fi looking has this potential. One thing the album cover did do was give off a very warmblooded feel. In the reivew of Arallu’s album Geniewar, I mentioned that there needs to be more warm blooded and hot black metal. Well, this may only be half black metal, but it certainly granted my wish. Maybe it’s the fact that the word genie was in that album’s name, who knows. Of course the question now is, now that the concept is what I want, does the music execute it to a high degree?

I was immediately surprised by the ambient/sample driven intro to the album, in that not only was it fantastic, it didn’t take up the entire first track. It wasn’t like the metal trope of having an ambient intro and then going into the album, completely ignoring the previous intro. I said this on the review of Acherontas’ Ma-Ion (Formulas of Reptilian Unification), I’m a sucker for great ambient sections. There is ambient in here, but the main thing Adoration of Blasphemy and War excels at is the use of samples. Whether it be organ samples, samples of planes dropping bombs, or just samples of people screaming in general, they all fit with the music, and the transitions in and out of them are seamless. As previously stated, this is a very lo-fi album, almost amateur sounding album, so I would expect super choppy and awful transitions, making the fact that this isn’t true about this very much a pleasant surprise. What’s also nice is that none of these sections are long, so you don’t feel like they’re taking over the album, they’re just really nice decorations. For example, on Deluge in Heaven the track opens with the crackling of fire, as if you’re in the depths of hell. I would normally think that would be corny as hell (no pun intended), but Goatblod really pulls it off by transitioning well, and having these sections not be intrusive to the music.

Speaking of the music, that’s probably the one real fault of the album. Not that it’s bad, but there’s only so much you can do with a genre where many of the songs sound the same. They actually do do a good with mitigating this, adding little things in each track that help with differentiating them. Part of that is the ambient/sample sections, part of that is the fact that the production actually allows you to hear the riffs that each track is based on. That’s a nice thing, because this is a 15 track, 31 minute album, and hearing a boatload of track that sound the same would be a major shame. Speaking of production value, I feel as if it’s absolutely perfect for this album. Everything is distorted enough to give off that lo-fi appeal, but there isn’t anything on this album you can’t outright hear. The vocals also have this echoy feel to them, like someone is screaming them in a cave in hell. Hell really does seem to be the main point of this record. Which with a name like Goatblood, I would assume that would indeed be the point of most of their records, especially considering their main vocalists stage name is Satanic Death Vulva. Can’t make that shit up.

Warmblooded metal has always been something I’ve wanted to hear more of. The problem being that most of it is death metal, which is not a genre I’ve fully been able to appreciate yet. With this album however I feel like maybe I’ve grown some steps closer to being able to really enjoy death metal, even if this is only half death metal. This is really a very enjoyable album that makes it’s point quick, gives you plenty of variety for it’s genre, and is only dragged down by the fact that you can only go so far with the raw style they chose to operate with.


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