Raining down impiety and sacrilege in the form of fresh blood whipped from the decapitated savior’s neck western Germany-based epic doom metal quartet ANGEL OF DAMNATION present their third and latest achievement in the realm of underground traditional craft. Arisen with new allies at their side and with rusted swords readied in hand after seven years of dormancy these folks only appear strengthened by the passage of time as we trace their cull through ‘Ethereal Blasphemy‘. For the classic doom metal fan seeking dark and ancient sounds this should prove an essential reminder of the sub-genre’s morbid, despairing essence at its best.

Angel of Damnation formed circa 2003 by way of chief visionary Avenger (Nocturnal, et al.) and German heavy metal stalwart Doomcult Messiah (Sacred Steel, Dawn of Winter) intending to flex their handle of the riff and ruin of the epic vein of traditional doom metal a la Candlemass and Saint Vitus while occasionally tracing that idea back to a late 70’s spiritus. Because I’d focused so heavily on the band’s associations, history, and discography in review of their previous LP (‘Heathen Witchcraft‘, 2018) today I’ll focus a bit more on what has changed, what is new, and what holds true in their hands. Needless to say the vocalist’s voice is yet incredibly distinctive, the riffs are sometimes a bit more laid back, and the classic sounds of doom are once again well served in their hands.

Though Mutz‘ vocals are a big part of Angel of Damnation‘s signature the lyrics are just as vital a point of distinction on each of the band’s three releases, reading as tales of historic folly in the realm of Christendom alongside a general mockery of religious faith. You’re not likely going to be phased by the subject matter on, say, “Stigmata” but there is a chance “Anal Worship of the Goatlord” might curl a few toes on the way down. Otherwise past observations still hold true for this new album in that it distinctly takes inspiration from 70’s/80’s doom metal, the vocals are geared up for tuneful storytelling, and the band’s work is almost always in service of the riff.

Opener “Eternal Life in Hell” has all of these bases covered outright, glooming and bopping through its verses while pointing downward to our intended final destination while introducing the new-found slow-handed swing of drummer Neudi (Sentry, ex-Manilla Road) to Angel of Damnation‘s vision, bringing a different sort of plod to ‘Ethereal Blasphemy‘ when directly compared to Tempestas‘ (Cross Vault) style on ‘Heathen Witchcraft‘. Though the bass guitar tone is tempered quite a bit it still growls alongside the confident step of the band’s rhythms bringing admirably oaken strength on this song, especially when the moment calls for flourish and snaking movement. You’ll begin to pick up on its tone and how much bassist Forcas adds to these songs once you’ve cranked the volume and scrubbed through standout jogger “Evangeline” and its harder ‘Ancient Dreams‘-esque thrashing moments. While the album is entirely self-produced they’ve done a particularly fine job of representing the rhythm section here, carrying an 80’s centric ‘old school’ doom metal sound throughout once again.

Heavy rock songcraft in slowed motion generally dominates here, loosening the tension of the past slightly via an unwound pace while using repetition to call down what hooks may come. The one song that’d wormed its way into mind for about a week on my part, the aforementioned “Stigmata”, couldn’t be more classic in its Scott Reagers-esque vocal expression. I think the first time I’d hit the ~2:21 minute mark on the song and the hammer hits the nails… that is the kind of sickening cleverness doom metal just wholly lacks anymore as they go on counting the strikes of the stake to the cross. This’d been Angel of Damnation at their most endearingly blasphemic and noose-swinging handle upon the doom riff though they likewise bring a kind of rocking edge to the middle portion of the record via the NWOBHM feeling whip of “Warning From the Sky” and kinda (early) Reverend Bizarre sized step of “Hungry Hordes of Hades” and the sinister dual vocal oddity that comes to define it. For a doom metal record with a grip of ~7 minute songs readied up it all flows past quickly and without any terrible missteps or phoned-in pieces.

Much as I could go on with references or point to certain riffs which stand out or linger in mind a great doom metal album with a proper canonical vision lives or dies by the collective -feeling- of its movement, message, and render. This has long been the brilliancy of Angel of Damnation as each record offers its own dark plod through blasphemic muse, an affected and spirit crushing event moreso than a hi-fi colossus. You’d think some of that serious dread-levelling heft would be trivialized by repeated chanting of “Angel Worship of the Goatlord” but the ~10.5 minute closer only reinforces their slow-hammered drive into skull and ends up being one of the best songs on the album for my own taste either way; Between the homebrewed but still entirely apropos production values and cover artwork from Chris Moyen ‘Ethereal Blasphemy‘ does well to deliver a demented personality rich doom metal record which speaks to the best traditions of the underground. A high recommendation.

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