Review by Felix on June 4, 2024.

Every scene needs its flagships, someone who says that the other bands can enjoy their artistic freedom, but if they want to be part of the community, they have to take care for a few standards or rules. The Stone, only fools doubt this, is the role model of the Serbian black metal scene and their single (or EP) from 2004 celebrates its 20th anniversary this year in December. With that said, it is one of their earliest releases. To be honest, it shows the general approach of the band, but not yet the full potential that the guys demonstrated in the following years. I don’t speak of the underground production that almost forgets the demonic vocals. The sound of “Do You Hear, the Dead Are Laughing at Us” is definitely not excellent, but it spreads a crude atmosphere and therefore it is absolutely okay that the mix lacks transparency. It is not overly blurred and that’s the main thing.

The songwriting itself leaves room for optimization, at least if we listen to the material today, two decades after its recordings. Maybe this EP was one of some important milestones that catapulted the band on the global black metal map. However, if we compare this work with their later releases – maybe this is an unfair process, but nevertheless let’s do it – we realize that the material is less complex than their later stuff. The songs aren’t flat at all, but a few layers are missing. The Stone set the focus on comparatively straight parts and tempo variations are more or less the only game-changer here. That’s a bit sad, because the riffs, leads and lines do not fully convince. They are solid and resilient, but the band rather impresses with courage, integrity and spirit than with brilliantly designed music. Certainly, it is no coincidence that these two pieces already show many elements of their typical approach of the later years – not only the opulent length of both songs. This band evidently had a clear vision of its sound right from the beginning and this is a crucial factor when it comes to integrity.

If I have to choose one of the tracks, I would take the title track, because it houses more facets than the opener without suffering from heterogeneousness in any way. The song has a natural flow, furthermore it scores with its slow, nearly tragic part. In particular the desperate melody line that comes in at three and a half minutes lends the entire piece a fine touch of morbidity. So maybe The Stone had to fight to become the flagship they are today. But they took the challenge and they were successful in doing so. My absolute highlights of the dudes are still “Engulfed by the Abyss” and “Teatar Apsurda”, but this EP is interesting as well and a document of its time. Even 20 years after it has seen the gloomy light of a grey and cold Serbian December morning, it is worth a listen.

Rating: 7.1 out of 10

Review by Carl on January 9, 2024.

Rape Pillage And Burn, it's what happens when you bring together members of Dismember and the awesome Divine Eve. Releasing only this sturdy EP, and then vanishing into nothingness, unfortunately leaving the name to fall into obscurity. Which is a bleeding shame, really, because this is not to be sniffed at.

Taking into account the people involved and the resumes they carry, it will probably not surprise anyone that this unholy union resulted in an outfit that plays old school death metal, completely made by grandma's recipe. And in this case, that grandma spoken of is none other than Tom Warrior himself, because this has Hellhammer DNA sloshing around everywhere.

Rape Pillage and Burn fits in snugly between other acts delivering steel-plated, traditional death metal such as Pentacle, Funeral Nation, Cianide and of course Divine Eve. Influenced by the earliest progenitors of the genre such as the already mentioned Hellhammer (and Celtic Frost), but feel free to add the names of NME, Venom and Slaughter as well, because they all left some traces in there. The band has built their sound on a foundation of jagged primitive hammering riffs underpinned by an equally no-frills pounding percussive approach, completely devoid of technical wank or progressive leanings whatsoever. The band takes the blunt approach to their music, and while being uptempo for most part, they never go super fast, primarily keeping to a simple sturdy beat driving the music forward. On top of this approach comes the raw-throated growling voice of Michael A. Sleavin, who manages to combine the sound of Venom's Cronos with that of Chris Reifert of Autopsy, providing heaps of old school vibes throughout. It's not all caveman death metal pounding here, though. Maybe it's because of the presence here of Richard Cabeza, but I did pick up on some Dismember and Unleashed touches in some of the riffing at times, alleviating the straight-forward stomp somewhat with a touch of Swedeath riffing here and there. In the context of the unrelenting old school death metal-isms the band showcases during the runtime of this EP, this adds a cool edge to proceedings, fitting in well with the rest of the music. In the album closer "With Venomous Tongues" the foot goes off the accelerator completely, letting an Autopsy vibe creep in that moves along at a geriatric snail's pace, leaving slimy trails everywhere. Yeah, these guys know how to old school death metal, no doubt about that.

But there is some left to desire, unfortunately. While not a disaster, it's a shame that the production is kinda flaccid. Music of this kind needs a powerful sound to it, think of how a lot of Cianide's work sounds, but that is just not in the cards here. While certainly evenly balanced out, the guitars and percussion sound pretty weak, as if played with only half power. There's just very little strength to them, which drains a portion of the power from the otherwise great music. Something you can also hear in the guitar leads, they are simply present, adequate but simply sounding way too nice and friendly for music as stomping as this.

Despite the kinda lacklustre production, this is still a damn solid offering of ye olde schoole death metal, but what else was there to expect from individuals with credentials such as this? I hope these guys will converge again at some time and place, because this EP should get a follow-up, and preferably one with a less sterile, more lively production than this one.

Rating: 8 out of 10