Review by Fernando on March 26, 2025.

One of the biggest and most welcomed surprises I ran into during the pandemic days was black metal outfit Spite's 2018 debut album Antimoshiach, which was a display of USBM that felt vintage and refreshing, especially after what at the time felt like a flood of Finnish worship bands, Mgła clones and a legion of "vampiric raw black metal" demos on Bandcamp, but I digress. And in mid-2024, Spite finally returned with The Third Temple, their long-awaited sophomore opus.

As someone who was very impressed with this band, as well as Salpsan's (the band's mastermind) label Stygian Black Hand roster of East Coast USBM and death metal bands, I'd be the first to admit that I was eagerly looking forward to this record, and full disclosure, I really, really enjoyed this record. And not only is it a new record, but it's 12 tracks long and clocks at an hour long. It was almost too good to be true, but it is.

Anyway, given my immediate predisposition for this band, what exactly does Salpsan do right, and what has he also brought into the table this time around? For starters everything good about the previous record is still present, and stronger than ever; blasphemous and thrashy black metal with strong heavy metal classicism, a blasphemous atmosphere, a balance of mid-pace rhythm and blistering speed, the works. Although the most impressive aspect continues to be how, despite this being a solo project, it definitely doesn't sound like one, the production by Jamie Elton (and props to him this record sounds pristine and raw, which is hard to do) does an excellent job at keeping the raw performance of each instrument, while also giving the music an organic sound akin to 80's records, think Slayer's "Reign In Blood", or Mercyful Fate's "Melissa", which is appropriate considering the band's overall style.

The most significant change and improvement from the previous record, which was also excellent, is the sense of scale. The overall songwriting is much more layered and complex, while the instrumentation is kept simple and there aren't synths or effects, everything is enhanced, the riffs are much more aggressive and ornate, the drumming is wildly eclectic, the bass lines are forceful and melodic, and so on. Though the element that truly gives the album and music that grand sense of scale is the vocals. Salpsan's vocals fit in that distinctly American style of growled vocals that can be heard in early USBM bands like Profanatica, and he's always being good at it, however, he actually varies his vocals, doing dramatic choirs, high-pitch screaming, and some whispers and spoken words, depending of a given song's atmosphere and vibe.

All of the previous elements in the instrumentation and performance are in service of the lyrical content and the album's concept about its namesake, the next temple of Jerusalem succeeding Solomon's, except this new temple will be erected in the name of Satan by the Antichrist, incidentally, the arrival of the spawn of Satan was the concept of the previous album. So obviously the lyrics are blasphemy, but unlike most black metal bands, Salpsan delves into Hebrew beliefs, and he delves deep, the fact that a black metal band can blaspheme using both Christian and Jewish beliefs without falling into fash nonsense is commendable, but beyond that, Spite's unique approach to Satanism and blasphemy is what makes it so refreshing.

To me, there's little to nothing to criticize or even nitpick, beyond the obvious like the extended length and repetition, but again, those are nitpicks, and they hold no water to an album that succeeds at everything the artist set up to accomplish. The only reason why I don't give it a perfect score is because while I still thoroughly enjoy this record, the first listen is always the best and most impactful.

Rating: 9.5 out of 10

Review by Jeger on August 11, 2024.

The convoluted realm of Jewish Mysticism has been explored with much fervor by contemporary black metal bands as of late: the mythical world of Qliphoth and Kabbalah as so detailed by esoteric collectives such as Gevurah (Swe) and Serpent Noir (Gre) whose occult works directly correlate with their artistic ventures. The music created by these bands is music with a different kind of purpose; the worship of the Dark Gods and music as a conduit for Satanic energy, but the tales are oft disregarded - those forlorn romantic stories of Solomon, Herod, and their taboo delving into forbidden spiritual scapes. Now, much like how Rotting Christ romanticized Satanism with their early recordings, USA’s Spite are injecting some imaginative serum into olde Jerusalem with tales of the Antichrist and of the Satanic empire. 

Six years now since the rise of Antimoshiach, and now a new chapter in the Apocrypha of Salspan - the Antichrist incarnate and the furthering of Satan’s kingdom is set to unfold. Within Spite’s sophomore effort, The Third Temple, set to be released on September 27 via Invictus Productions, you’ll bear witness to the kingdom’s fall, absorb the magickal energy of ancient relics, and see the rise of His Infernal Empire during the height of religious vies for power over the Holy Land. Black metal executed with all the frantic urgency of Absu but enriched by highly visual, exotic, almost cinematic soundscapes similar to those of Lamp Of Murmuur and not without a little black & roll grime is The Third Temple - a labyrinthine journey of a record wherein nothing is as it seems or as you can predict it to be, only alongside diablerie compositions fraught with maniacal riffs, hyper rhythms and frenetic changes in tempo shall you run during this, Earth’s final divine conflict. And as you come under spells like the Beherit-worshipping 'Unblessed' and the Darkthrone-heralding 'Yahweh’s Vengeance', you’ll uncover a sliver of the under-appreciated influential majesty of contemporary USBM. 

The aesthetic and the vibe of The Third Temple like a scene in some lost classic era film where the protagonist walks into a vast chamber haunted with scantily clad vixens swaying beside monolithic columns to the sound of exotic rhythms, the smoke of ancient elixirs and the vintage Technicolor blessedly intoxicating the atmosphere - all in service to the Olde Gods and for the ecstasy of the flesh. Grab some popcorn, kids, because this is downright entertainment, a triumph! Eagerly awaiting every part as each suspenseful passage dominos into the next during the brilliant 'Desert Demons'; a racing tremolo and an intrepid blast-beat-driven compositional specimen. Dime-a-dozen are most black metal solo projects, but Salspan proving to be quite the Troubadour and most certainly a most adept musician here as he offers up genuine yet unique black metal produced with an artisan’s touch. 

The heartbeat of The Third Temple, the cadence of it as menacing as a late-night chase by an axe murderer and as unrelenting as a bare-handed death-beating. Definitely the top selling point with those unpredictably executed but unforgettable guitar riffs - a myriad of techniques so masterfully explored and executed - following in second. The energy writhes and tempests as would storm waves cresting violently upon stony shores during the album’s climactic titular cut: melodic tremolo riffs, cymbals-elaborated blast-beats, and more of those sinister martial beats that tease and torment so unforgivingly to close out what’s been an enthralling pre-Christ epic. All for Satan’s kingdom! As worldly sects foolishly vie for sway over their precious Holy Land, His Infernal Majesty prepares his Earthly reign. May all hails be unto Him and to the unsung glory of USBM. 

Rating: 9/10

Review by Krys on March 27, 2014.

Defying was born in 2008 in Olsztyn, Poland, and after few typical for a new band lineup changes and couple of demos, 2014 brings a full length debut "Nexus Artificial". What a night of heavy drinking that must have been to wake up and say - for our first record let's make progressive concept album about human existence. Jokes aside, cause with expectations set that high Defying came out on top and positioned themselves for a very bright future ahead.

Let's clarify that our talented quartet's version of progressive metal is not in vain of Dream Theater and such, but rather very mysterious and nostalgic, almost to the point of doom. Very spacious and lush compositions are absorbed best with a serving of moonless night sprinkled with couple flickers of a candle. From opening ambient intro, Dēmiourgós, and first clean guitar notes of Newborn Sun, Defying takes us on the journey through the 'nexus' of our existance. Each track on its own and as a whole works seamlessly and presents very high level of musical proficiency and esthetics usually reserved for later outputs in band's career. Like veterans of the scene, Defying spreads its message throughout all forms of music medium. There's full spectrum of vocal hues from spoken words to deep growls and even couple female ones on 'Prayers' and 'Mismatch'. Broad range of guitar effects, samples and acoustic guitars overlaying the progressive dynamics of rhythm section keep almost an hour of music always compelling and captivating. With all those elements and characteristics Defying created very lustrous debut from which they will be judged against in the future.

There's not much more to say but to conclude that our progressive dreamers presented themselves to the world with a very fulfilling debut that leaves no doubt to the very promising road ahead, but in the meantime - dive into exceptionally good "Nexus Artificial".

Categorical Rating Breakdown

Originality: 8
Musicianship: 9
Atmosphere: 8
Production: 8
Overall: 8

Rating: 8.2 out of 10