2014 : Century Media
Format : LP/CD
I hate the term “Black Metal super-group” because that insinuates that you can reach some form of super stardom playing Black Metal, and as uber kvlt kids will tell you, we can never let that happen because we need to hide this light under a bushel, yes. Even hint at mainstream popularity and you’re outta here like Dani Filth on Dimmu Borgir’s tour bus. So, I’ll probably punch you in the balls if you use the term to my face.
That being said, many a panties have been wadded with the inclusion of of Thurston Moore of Sonic Youth to this incarnation of the band. Personally, I couldn’t have been more stoked. Well, then I was worried, then back to stoked again. I grew up a Punk Rock kid with Metal as my first love, so this seemed pretty ok with me. But alas, elitists don’t like you fucking with their illusions. Whatever.
Returning for this release is Jef “Wrest” Whitehead (Leviathan/Lurker of Chalice), whom I’ve always thought delivered solid records, but admittedly I haven’t kept up with anything past 2005’s “Howl Mockery At The Cross”. That fact only out of the massive amount of everything being released by everyone all of the time. Returning as well is Sanford Parker (Nachtmystium/Buried At Sea) doing double duty on electronics and production, as well as Stravros Giannopoulos (The Atlas Moth) on guitar. And then of course, Neill “Imperial” Jameson (Krieg/N.i.L/100 other things), who along with Whitehead seem to be the only consistent member and appear on all three releases. He’s also one of the most underrated musicians on the planet, in my opinion. Krieg’s “The Black House” should be in the collection of anyone who professes a love of Metal and mandatory for anyone into Black Metal. Absent this go around is Blake Judd (Nachtmystium). A quick Google search will get you your daily fill of drama regarding Blake, so I’ll just leave it at that, and say drugs are bad, kids.
So what does Moore really bring to the table? Shimmering, feedback laden guitar noise. Duh. It’s Thurston Moore. Does it work? Amazingly well. You get an immediate blast from the opener “Lungs”, which for my money sounds like the song Godflesh never recorded. The album continues to flirt with different styles, all the while keeping their shiny black boots firmly planted on Black Metal soil. “Oh, Wretched Son” reminds me of some mid-90’s Prong. One of my favorites, “Swarming Funeral Mass” keeps some of the Industrial percussive elements, but slows things down to a Doomier crawl, Moore’s guitar sounding like it’s being disassembled at times. If anything could be considered “traditional Black Metal”, I’d say “Seek No Shelter, Fevered Ones” and “A Flood Of Eyes” are close, if you like it noisy with fucked up electronics, which suits me fine. The album closer “Below Lights” is another industrial thumper filled with Godfleshy goodness.
I don’t know, maybe I’m not the best source of an opinion here. this release has so many influences that hit my musical g-spot, it’s probably hard for me to listen objectively. I can’t really find a clunker of a track and the frame worthy painting from Tim Lehi (Draugar), let’s just say you had me at inverted valknut spot-gloss. Is “Beneath Trident’s Tomb” Black Metal for the purists? No, I’d be an idiot for saying so, but ignoring this record because it’s not would be stupider by far.