(Source: The Ajna Offensive)Label(s): Norma Evangelium Diaboli / The Ajna Offensive Release Date: 03/13/14
Before I begin this review, I find it necessary to paint the scene here for a moment. It was a few days after Christmas (or “the day of the wretched spawning of the bastard son of heaven” for our more kvlt readers”), and I had been revisiting Teitanblood‘s first full-length Seven Challices quite a bit around that time (in the spirit of the holidays). The contrast between the primitive, brute force of the music and the deeper conceptual ideas about the occult and blasphemy intrigued me in a way it hadn’t when I had first listened to it. I remember playing it for the fifth time that week on December 30 and thinking, “Man, I wish this band would release another full-length soon.” Considering that the members of Teitanblood are basically complete recluses when it comes to promoting themselves or keeping fans informed of its activities, I had no idea what was actually in the works. I woke up the following morning to my friend sending me a message that read “New Teitanblood in 2014.” I basically jumped out of my skin. Word spread like wildfire and metal internet was abuzz in hype. In all fairness though, it was hard not to be. The limited PR campaign Teitanblood engaged in basically said that this album was going to redefine death metal (the exact wording being that it was going to “correct the misconception about Death Metal being music”) and to top it all off, the band titled the album Death. Not one word more, just Death. To say that this was a ballsy move is a severe understatement. With a name like Death and the claims the band made, anything less than the most outrageous, vile, and evil album of occult, Satanic death worship and chaos, was going to be an utter failure. Ladies and gentlemen, I can not only that say Teitanblood has surpassed expectations, but we may have on our hands one of the greatest black/death albums of all time.