FilthyDirty: The Rise And Fall Of Blasphemouth – album review
FilthDirty literally gets his Freak on with an album full of abrasive dark dub metal with a twist reckons Wayne AF Carey
The post FilthyDirty: The Rise And Fall Of Blasphemouth – album review appeared first on Louder Than War.
The Rise And Fall Of Blasphemouth
Available 1st April
Just when you thought the lockdown could save your ears from the crimes against music of Evil Blizzard. No rehearsals? YES! No refunds? Of course not. The glammed up weirdo FilthDirty gets a bit bored, finds some unreleased Blizz tracks that didn’t quite work at the time, fucks around with them a bit, dusts off his bass / electric drum kit and finds his way around some mental abrasive sound that blasts it way well over eleven. Wayne AF Carey gets an ear battering…
The weirdness sets in straight away with Disease starting off like a horror soundtrack that kicks in with a massive fuck off riff that chugs and chugs, then Filthy wades in with his raspy vocals to compliment. Think a menacing Killing Joke fuelled up with sonic noise that unblocks your ears. A master blaster to start with an abrupt end. The dub kicks in with All My Friends (Are Cunts), a slow sinister number that name checks his many friends. Sonic stuff with a menacing riff lurking in the background and unnerving vocals that sound like that phone call you don’t want from a would be kidnapper. “Wobbly Bob, Furtive Dave, Curtains McGinty, Paraffin Jane, Tony Giblets, Shiny Grifter, Phoebe Drainpipe, Terrible Steve, all cunts, best avoided, all cunts, all the same…” Funny and disturbing…
All Of This For Nothing continues the misery with whispered vocals, a slab of evil repetitive bass and some cracking effects that are dark as fuck. Every now and again it explodes into abrasive sonic guitar that blows you away. A proper Blizz moment that has hints of Sacrifice in there. Top stuff. Don’t Trust Me I Don’t Trust You starts off with the horror theme again and just explodes into a proper slow dub number, sinister warped vocals and some mental headsplitting scraping guitar effects that bang your senses. “Fuck with me I’ll fuck with you” say Filthy as he hits those supernatural sounding keys that un-nerve the senses. Straight To Hell is a top builder that comes in with a slow rush to the head, whispered vocals, paired down production, addictive bassline. Then the bar is raised and it ramps up a gear in style. A slice of mad sonic metal that thrills. He even namechecks fellow bald bastard Telly Savalas. Who doesn’t love you baby…
It Wasn’t Me, It Was A Ghost has a massive dirty riff that rocks the fuck out. Sonic effects that blast the eardrums with the industrial noise that’s close to some of Ministry’s best stuff. It’s a powerhouse of startling noise that slays you. One Last Drink In The Last Chance Saloon is the closest Filthy gets to a late era Fall track with a menacing crunching bassline and matching distorted vocals. A little guitar chug rolls in and the crunch of effect pedal mania tops it all off. A dirty bastard that sounds like Mark E Smith on acid, especially the evil chuckle at the end. Closing track Monolith is a deep down horror soundtrack that conjures up the image of something not very nice down in the cellar. A doom prog psych piece that makes you want to reach for the lightswitch. Uneasy listening not for the nervous. If you’re looking for Abba then look away.
If you’re missing Evil Blizzard then this is like a glimpse into the future of the next chapter. An evil experiment to keep us going until they unleash the misery in a town, city or dungeon near you…
Pre order here.
Words by Wayne Carey, Reviews Editor for Louder Than War. His author profile is here