siLLy puPPy
The fiery pits where the earliest black metal bands were forged were sparing in their early yields of fledgling bands developing the style that didn’t quite scratch the itch on Venom’s earliest recordings. While Scandinavia was the hotbed of second wave black metal taking the world by storm with Bathory and Mayhem crafting the earliest known sounds to be called true black metal, half the world away in Vancouver, BC, Canada another band had its hand in crafting its own cacophonous sonic terror. BLASPHEMY formed all the way back in 1984 but wouldn’t release the first demo “Blood Upon The Altar” until 1989. While Bathory and Mayhem were responsible for unleashing the first black metal recordings onto an unsuspecting world, BLASPHEMY was still in its embryonic stage gestating the most brutal and aggressive noisefest possible.
The wait was worth it since BLASPHEMY crafted the earliest sounds that would be deemed war metal (also known as war black metal or bestial black metal). This band took the aggressive, the cacophonous and the chaotic to even more extreme levels by following in the footsteps of some of the 80s most intense metal bands like Sodom and Possessed along with early grindcore like Repulsion as well as the death metal sounds of Autopsy, Sarcófago and early Sepultura. After the demo was released BLASPHEMY followed up with the debut FALLEN ANGEL OF DOOM the next year with cover art so vile and blasphemous that the style of a war metal bands to come would copy the tricolor schematic of black, white and red with monstrous depictions of Satanic beasts and anti-Christian themes. And according to Terrorizer magazine, this album is heavier than the entire forests of Canada falling on your big toe.
BLASPHEMY was a quartet and donned unusual Gwar-like personas with terrifying stage names like Black Hearts of Damnation and Impurity (drums), Nocturnal Grave Desecrator and Black Winds (bass, lead vocals), Traditional Sodomizer of the Goddess of Perversity (rhythm guitars, backing vocals) and the crazed lead guitarist Caller Of The Storms who happened to be one of the very few black guitarists who would forsake the world of funk and hip hop and join the ranks of the noisiest legion of sonic terrorists the early 90s had to offer in the world of black metal. With subject matter steeped in Satanism and demonology, BLASPHEMY became one of the most revered bands in the underground extreme metal scene and was signed to the Wild Rags label while touring the US.
FALLEN ANGEL OF DOOM is a short blast in the hellfire pits of early war metal with surreal intro effects that lead into down-tuned hellish fury that finds frenetic power chords, blastbeat percussion and low guttural growls coalescing into distorted monstrous dinfests with punk infused brevity. Breaking out the squealing solos, Caller Of The Storms displays how the war metal segment at the black metal store has much more in common with old school death metal than Scandinavian contemporaries that utilized trebly lo-fi tremolo picking as the primary means of expression. At the time this debut album was released, BLASPHEMY had no competition in the war metal but soon their influence would spread far and wide with bands like Beherit, Archgoat and Impaled Nazarene quickly joining the deathened black metal pits from whence this vile din of perversity found life.
Like many other artists who develop a new style, BLASPHEMY’s debut FALLEN ANGEL OF DOOM has become a classic for its infidel influences on the entire extreme metal scene that would follow. Despite its classic status the album wasn’t rereleased for over a decade and finally found new life in 2007 on the Nuclear War Now! label. While not the best example that black metal has to offer, the incessant deathened core influences that BLASPHEMY mashed into the second wave black metal sounds are staggering and about as extreme and sacrilegious as music could get in 1990, a year when both black metal and death metal were barely out of the cradle. Not my favorite but still a classic.