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Nov 28

The reason for this is that although the album is terrific, I feel that it ends the wrong way. I like various types of black metal, but with Gorgoroth I expect more ferocity than this album gives us. Let's be clear: this was always (and always shall be) Infernus' project, and attempts to usurp the name from him make the perpetrators out to be a pack of corpsepainted idiot-babies. I immediately forget everything when the album is over, and the album is so directionless. On the other hand, I don't really agree with the angered statements that King-penned Gorgoroth … Gaahl has a decent voice for black metal, but in certain places he sounds like he's trying to be Sakis Tolis from Rotting Christ! This doesn't automatically make him a bad songwriter, but the lack of Infernus' songwriting on this album clearly shows as it meanders away from the original core sound of black metal. Twilight of the Idols has a picture of a burning church on the cover. On "Destroyer...", he was only featured on one song, which just so happened to be the best on the album. For the first time since Gaahl was introduced to the fold, his heavily distorted style aids the band's approach. His performance on this record isn't on the same level as Pest or Hat was, but it's definitely above average. My only complaint here is that it is just way too short. This album captures that energy: heavy, dark, and evil. Not quite as abysmally bad as "Ad Majorem Satanas Gloriem," his attempts to bludgeon us only mildly smacks us in the head and make us long for something else to happen before changing to the next track in frustration. And Lo and Behold! The blast beats start right from the beginning. I don't think that the lineup was necessarily doomed to fail, however what truly kills the album is how rushed it feels. And ironic claims. During the latter half of the album, I found myself being unsure whether the riffs were actually new, and not just recycled riffs from earlier songs. Looking back, that album was a steaming diaperload of spastic songwriting, shitty vocals, and overall inconsistency on the parts of all participants. It was the only album to feature drummer Kvitrafn. Looking back on this album, there's simply not to many instances that I can even recall. As far more of an outsider looking into to the Second Wave sound than Infernus, it's surprising how well he manages to reflect the perennial feelings of Gorgoroth in his own way. Once again, the same old Black Metal, which is never the same and thus never old. Then the band fell apart in legal battles, Infernus won the name (the fans also won with King's departure!) It's an understatement to say I wasn't looking forward to listening to this album, but after an unhealthy amount of convincing, I gave it a try. For me personally, standout tracks include; "Procreating Satan", "Exit Through Carved Stones", "Teethgrinding", and "Of Ice and Movement". And when Nuclear Blast came a'callin', they came at us both confused ("Destroyer") and confusING ("Incipit Satan") before taking a small, 3 year hiatus to unleash their latest opus to our battered and bruised ear drums A few minutes into the song, they go into a half-time feel and just keep repeating "Praise Satan" over and over again. Instead, the music for this album was composed by bassist King ov Hell and Kvitrafn. Ghaal, the new vocalist, who had so brilliantly pushed Gorgoroth into the right direction music wise on the milestone “Destroyer”, had been arrested for acts of blind and furious violence. Title (again) taken from the Nietzche book 'Twilight of the Idols, or how One Philosophizes with a Hammer'. Kvitrafn's drumming is more than appropriate, although some patterns could have been more developed - still, it's Gorgoroth we're talking about, a band whose music has always been known for its essential approach. On this record he goes from all out roaring into hypnotic cleans on "Teeth Grinding". This album is average, at best. Now that we got that cleared up, Gorgoroth is the first black metal band I ever really got into, and while this certainly won't pull in any acclaim, my first exposure to the group of grumpy Norsemen came in the form of 2000's Incipit Satan. Kvitrafn's drumwork is exactly what one would expect from Gorgoroth. Tormentor left and we got Kvitrafn replacing Sjt. It's pretty obvious that King (or King of Hell, or King ov Hell, or whatever), he of the Shagrath-like attention addiction, is nowhere near Infernus' songwriting echelon, and instead gives us the main bulk of the album as plodding, chunky, sextet-laden go-nowhere doom riffs and tripping-over-one's-own-feet drum work that does not hold the attention as well as I'm sure he would've wanted. I put it on the hear the two tracks I like and then put it away for a couple of months. On the other hand, I don't really agree with the angered statements that King-penned Gorgoroth is ultimately generic. If your loyalties lie with the gnat orchestrated catchiness of Antichrist or Pentagram, you're better off avoiding this altogether. This album provides something uncompromising, intense, and extreme, all the while doing so in a very unique and heavy way.

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