Review by Maverick on February 1, 2024.

Let me start by saying that this release is far different from the other albums AHTDU has released. It combines a chilling atmosphere, gothic-folk acoustic, and extreme metal. It might be a disappointment to some fans since the intensity of this album is not the same as the Behemoth-esque style they played in previous albums. However, I think this is a solid album in the right direction.

First, let's talk about the atmosphere of this album. This is a Christmas album, with a blackened/gothic tone. Nile's Karl Sanders features on an acoustic track ironically, 'A Hymn To Marduk', which reeks of Nile's atmosphere. This is pretty damn rad, since when you hear the atmosphere of the opening track. Sakis Tolis (Rotting Christ) interestingly offers a melodic black metal version of the same song, 'A Hymn To Marduk II' and is interestingly joined by Bruce Fitzhugh from Living Sacrifice -- which is like "What the heck?" On both occasions, we all know who is playing! The same atmosphere of both Nile and Rotting Christ comes out with very interesting musical exuberance and melancholy. The rest of the songs are black/death metal renditions of classical Christmas songs, 'We Three Kings', 'What Child Is This?' 'Stille Nacht'. What's phenomenal about these tracks, is that they alternate between melodic metal and extreme metal. The vocals do contain Behemoth/Hate-type vocals, but they're complemented by clean singing like Ole Børud's (Extol) vocals (on the 'What Child Is This?' song) and more melodic/folkish songs like 'Left Handed Wizard' and 'Sacred Harp 133'.

Second, let's consider the guitar work. The riffs are quite disparate throughout the album, but it took me a few times to consider how they presented a cohesive album. Some songs have slow blackened death metal riffs, and at other times they seem to have a lot in common with Satyricon's black-and-roll offerings (like 'Entre le Boeuf' and 'Veniveniemmanvel'). Far from the more simple riffs detracting from the album's cohesion, it offers a more ominous atmospheric dimension to the album than one would expect. The guitar solo in 'What Child Is This?' really feels very melodic, and quite different from a regular extreme metal guitar work.

Third, the drums are quite menacing, although it does not go by typical black metal standards. The blast beats are minimal in this album, and it is far more melodic and melancholic. The timing of the drums is offered in a rather folkish-doom and rock-and-roll way, which is quite interesting because it works perfectly.

Fourth, the overall musical dynamic is quite hard to pin down. This album is far more atmospheric than 'extreme,' the focus seems more on delivering a menacing atmosphere and telling a story. I was quite nervous when I first jammed this album, but after considering the time signatures, riffs, and guitar work -- I can say with full honesty that it is a masterpiece. I would like to mention that if you want to know what exactly the Omens (especially 'Adept In Divinity') album was building towards. Jam this, with that album in mind. Let the folk acoustic chords tell you the story, as you find out more about the black magi who offer their gothic-country style story, and let the sound proclaim a black metal Christmas!

This album is a story, the story of the Christmas wisemen, and a darker rendition of the age-old Christian story. The collaboration and easter egg moments of the guest artists offer a peculiar and strange offering of something between extreme metal, rock and roll, and folk album. Definitely check this out if you want a piece of Christmas metal, that isn't banal or boring.

Rating: 10 out of 10

Review by Felix on January 3, 2021.

The previous review for Desecration, Pest’s full-length debut from 2003, is titled “Darkthrone worship or rip off” and another reviewer also mentioned the Norwegian duo in his headline. Of course, Pest act in close proximity to the role models who saw a blaze in the northern sky. Already the artwork follows the aesthetics that Darkthrone’s first black metal album established. The number of six tracks also indicates the spiritual connection from Pest to Fenriz and Nocturno Culto and so it comes as no surprise that there are musical similarities as well.

The material commutes between slow-, mid- and fast-paced sections, but the single songs do not like tempo shifts. They are either cold or hot, but they don’t like to change the temperature. From this follows that songs like the pretty slowly flowing 'Hours of Eternity and Death' are not overly exciting in terms of velocity and the decent yet unspectacular guitar work also does not trigger enthusiastic cheers. But honestly speaking – and I know I am pretty alone in this – I never fell in love with “Ablaze in the Northern Sky”. Its ingenious title promised much more than the music was able to keep, just my five cents. In contrast, Pest conquers the black spots of my heart with pieces like the comparatively furious 'Dark Northern Winters'. It is exactly as generic as its name, but I don’t care. I love black metal for what it is, no more, no less.

The album sounds raw. The guitars have a profound, deep tone and the guttural vocals emphasize the Nordic origin. No doubt, the lead singer must be a Scandinavian troll in rage. Anyway, he gives the album a big portion of vileness. Mission fulfilled. This is not to say that the instrumental section lacks negative vibes. In particular the belligerent 'I Am the Plague' (nice idea to put the climax on the last position of the track list) spreads life-denying coldness and whenever Necro nags the title, I have no doubt that he really is the plague. By the way, the final song closes the cycle in terms of speed, because the opener also prefers rapid rhythms. However, I don’t think that 'Ninth Nocturnal Departure' was a good selection for the opening position, because its guitar work seems to be borrowed by Darkthrone, to put it politely. Moreover, the following 'Commanding Armageddon' sounds like the little brother of 'Quintessence'. I agree that the Swedish duo has gone a step too far here.

However, if we forget the lack of originality for a moment, Desecration deserves a positive rating, because it breathes pure, solidly performed black metal. No gimmicks, no superfluous extras, just Scandinavian darkness which was inspired by artists who influenced an entire generation of black metal musicians. If this is the worst problem, then I can live with it.

Rating: 7.2 out of 10