Teitanblood - Seven Chalices (2009)

When I take a moment to ponder relevant and/or classic releases that are of Spanish origin, I sort of... no... I really draw a blank. That's not to say that they don't exist, because they probably do, in fact just like their neighbors in Portugal, there's been hundreds of bands to arise from Spain. Somewhat figuratively speaking though, if a countries metal scene lies dormant long enough with nothing major being produced eventually some souls will have to rise up and seize the crown and perhaps at the same time rightly abolish even those from neighboring countries (or even worldwide). Enter Teitanblood from Madrid, Spain.

Self described as, "The point where Death Metal and Black Metal were not differenced," it would be quick to assume that Teitanblood is no more than a mere copy of 80's proto-black & death metal, perhaps along the lines of Sarcofago, Bathory and Mayhem, but then therein lies the surprise. Teitanblood exists within the fiery discord of Blasphemy, the bludgeoning barbarism and dirge of Incantation and Autopsy plus the occasional rockin' catchiness seen within early Celtic Frost.

Morbid Devil's of Pestilence

Greeted with a cinematic intro of sorts, 'Whore Mass' samples parts of Polish composer, Krzysztof Penderecki's, 'Dies Irae' before thunderously heavy guitars bathed in filth and malice vomit fourth and seamlessly blend into 'Domains of Darkness and Ancient Evil.' From here Teitanblood takes the listener through a hammering psychotic sound that as I already said bares resemblance to Blasphemy (as well as Beherit and Archgoat) while everything that made early Incantation, Autopsy and Celtic Frost untouchable is represented here both through insane pummeling brutality, depressive dirges and honest face peeling guitar work that makes great use of whammy bars.

The production is murky in a way I've never heard before, as if it was recorded within a bog. As I continue listening I half expect the ooze to rise past my ankles or even drip out of my speakers, this is seriously raw, heavy and filthy in a way you've never experienced before, yet the guitars are quite audible, even the bulky rumbling bass makes its presence felt.

The drumming is something that shouldn't be overlooked either, especially when one might expect something straightforward. Simply put when he's not destructively blasting away you'll find many unexpected fills and rolls, which makes it a very percussive album, even if it all is somewhat hidden beyond the muck. The vocals are surely one of the albums high points as they range from guttural roars, to caustic shrieks, painful howls and demonic speeches and backwards talking. Yes, you'll even find a trademark Tom Warrior, "Ugh" during a few of these songs. Fucking, love this!

Not content to be entirely a tribute to the days of old, the band also throws in three untitled interludes, which offer up a breather, but at the same time take the listener to a different plain of reality (for a little while). The first one has a distinctive Arabic vibe to it intermingled with an occult ambient sort of flavor while the second one is ritualistic brilliance with an overlaying devilish voice, whereas the third interlude sort of breathes the same ancient evil as the first. 'Qliphotic Necromancy' is also very much an interlude, but sounds like a Satanic mass complete with sacrifice in the end. Trey Azagthoth is crying somewhere with a Sailor Moon doll in hand.

It must also be mentioned that the booklet is stunning. Offering up a plethora of grim and morbid visions as well as various texts or snippets of lyrics, its absolutely an album to own in physical format.

The album manages to exhume all the sounds and evil's of the early black/death scene in the most feculent manner imaginable, yet with a sense of aestheticism like you wouldn't believe. Teitanblood is the antipode to all things purdy, cute and warm, this is the real deal, this is 'Seven Chalices.'