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ANGEL OF DAMNATION
Ethereal Blasphemy

Dying Victims Productions (2025)
Rating: 8/10

With only their third full-length in just over 20 years, this German combo, who go by the names Doomcult Messiah (vocals), Avenger (guitar, bass and keyboards), Forcas (bass) and Neudi (drums), are a well travelled bunch. Between them they have been in at least 30 bands, so maybe that’s why releases under this moniker have been sporadic.

Angel Of Damnation’s first opus, Carnal Philosophy, was issued so long ago (2011) that I’d completely forgotten what style of music they played. The new album then is somewhat of a refresher course, with seven lengthy songs of strong doom metal structure and satanic aplomb.

Most striking here are the lyrics to ‘Evangeline’ as Doomcult Messiah (aka Gerrit P. Mutz) groans absurdities, such as “I’m wet and open – eagerly. Imagining receiving thee, one hole for each of you is free, my threesome with the trinity”, and “This crucifix to symbolise, your love made flesh – perfect in size. With you in mind I penetrate, my velvet portal – holy gate”. All intriguing stuff delivered to a soundtrack of chiming rhythms which veer towards Candlemass.

Opening slog ‘Eternal Life In Hell’ creaks like timbers from an old ship, groaning with colossal drawn riffs and Neudi’s slow, booming percussion. Glints of laborious melody twinkle through the ever thickening grey clouds as ‘Lost In A World Of Despair’ trudges nicely. The vocals are clear cries of mourning as Doomcult Messiah solemnly croons: “Shield my face from the sunlight, I can’t take all its glow anymore”. It’s effective lyricism harkening back to the days of traditional doom metal’s reign via the thunderous echoes of Solitude Aeturnus and Candlemass led by the mad monk Messiah Marcolin.

‘Warning From The Sky’ begins like Black Sabbath; aged, antique, stuffy yet somehow upbeat through the layers of dust. The bass work acts as the skeletal spine to a jovial dynamic as a timely gallop takes effect. In contrast, the bizarrely titled ‘Anal Worship Of The Goatlord’ aches and drones, utterly abysmal from its yawning eaves. This is the quartet at their most despondent as for ten minutes they drag us into their mire of romantic yet sinister lyricism and a fluttering of evocative keyboards. This really is a solid doom metal experience, one so heavily familiar and yet elegantly crafted. It’s not doom metal of human sacrifice or witch burning, but instead a poetic retelling of the events preceding such misery.

Ethereal Blasphemy is an ancient tapestry littered with Tony Iommi-styled grooves (‘Hungry Hordes Of Hades’) and bewitching fluidity (‘Stigmata’), a perfect cocktail to subdue the colours and dampen the spirits.

Neil Arnold

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