The Metal Observer
by Hans Rot
It should come as no surprise that one of Croatia’s premier black metal bands shares members with other prominent bands in the scene. Kult Perunov, Gorthaur’s Wrath, Bustum, Hibernum, Castrum, all have put out some of the most consistent and solid material from the country, yet they differ drastically in their national representation (although, rather interestingly, Prognan, the most unique of them all, is absent in relation…which is a good thing). Starting as a two-piece, Black Cult put out a massively riff-centric and labyrinthine Swedish inspired debut, Neo-Satanism, which would make even Inquisition and Naglfar shed a tear, so intricately layered and detailed it was, with a criminally underrated status to boot. Perhaps inevitably, though, in an attempt to make a mark on the Croatian scene and the European landscape in general, Black Cult has taken on additional personnel and the difference in sound is instantly noticeable, whether for good or worse being the debatable point.
Now it seems the band has become a melting pot of sorts, or perhaps a more diluted solution of its extensive blending, due mostly to the fact that, like it or not, they are officially a “supergroup.” Their sophomore alum, Cathedral of the Black Cult, features themes and ideas of a different focus from the debut; it’s a more stylistically diversified affair but also structurally stunted, and the compromise is easily a crowd divider but also a statement that the band is rapidly reshuffling its deck, now dealing in something much more relatable to the melodic death and thrash sensibilities that gave 2001 era Dimmu Borgir and 2005 era Hypocrisy such varied and wide-reaching appeal.
The stripped down structuring and back-to-basics, no-fucks-given melodic framework that Peter Tägtgren is ultimately known for these days is present with no regard (or, rather, with full regard) to popular opinion, and for a country not known for its black metal scene, it is admittedly a good approach to try. The unpredictably southern riffs on Neo-Satanism (“DCLXVI”) and War for Heaven (“Birth of Sin”) were a welcome addition on those albums—just as Taake’s infamous banjo in “Myr”—and it’s good to see the same level of variation executed on the new album, too. One is also treated to a surprising array of stylistically varied solos, thanks to the addition of Alen Brentini, ranging from blues, to progressive rock, to pure power metal shred.
There is indeed quite a bit more experimentation going on here, bringing to mind Tribulation, in how intentionally catchy and upbeat the album wants to be, with easily understood lyrical themes that provide tongue-in-cheek contrast. The technical abilities of Brentini are definitely the focal point, structurally, as each track seems to lead to one of his solos, which tends to limit the songwriting in most cases to that end. But in others, such as “Dark Matter,” Black Cult is on their most creative display, while on “Undeath,” “Gaze of Insanity,” and “Ego Te Absolvo,” the band lets themselves breathe with slower tempos that feel their way through crawling, meandering riffs that do nothing to diminish the overall tempo, only accentuate the faster sections and show the band is equally adept at any speed.
Cathedral of the Black Cult is a very mature album, which sees the band playing at a high level and within different stylistic leanings, many times within a single track, and even if the structural components can be rather simple at times, the band squeezes every last drop out of their palette of riffs to compensate. Is it better than Neo-Satanism? Both are so very different yet still very Swedish in nature, and equally as good for what they bring to the table. More Naglfar/Watain/Valkyrja worship, as welcome as it would be, could be better left for another band; this effort, by contrast, is such a leap of faith that it’s hard to imagine anyone reverting to a more “traditional” form.
8.5/10