The World Is So Good That Who Made It Doesn't Live Here

Have you ever seen the movie Dr. Strangelove, which features Peter Sellers playing a rambling general who’s capable of destroying the earth? This album opens up with a rambling guy who sounds just like him. It’s not exactly a good introduction, but just look at the album title of this thing. I’m telling you, The World is so Good that Who Made it Doesn’t Live Here is a strange one.

It’s clear that this album is a departure of the bestial goat worship of the first two Mystifier albums. Instead, the band takes a more melodic, yet unique approach to black metal that’s maybe got more to do with the likes of early Root than anything else – you know, black metal that’s more about punching guitar work with a sense of warmth to it than blazing tremolo riffs conveying frostbitten atmosphere. Now one thing that I still don’t get is why the band decided to shorten their tracks at this point. For an album that’s more melodic and dare I say ‘’mature’’ than its predecessors, it’s surprisingly efficient in its pacing. Nevertheless, it’s all for the better – the band isn’t afraid to explore different territories through vivid tunes that are both emotionally and musically versatile. The medieval soundscapes (thanks, church organ!) of ‘’The Death of an Immortal’’ is surely something different from the vigorous slab of ‘’The Barbarian Dueling with the Wise’’ while ‘’Moonick’’ is a real multidimensional piece of art where the band basically sums up everything they're capable of in one song.

The guitars pound their way with conviction and malice without relying on that sinister fury that was present on the first two Mystifier records. The band still speeds up from time to time, but the riffs themselves leave much more impact behind at this point. The opener storms right through heavens gates while ‘’The Barbarian Dueling with the Wise’’ relies on those stinging guitars between the chants. The World is so Good That Who Made it Doesn’t Live Here also features Paulo Lisboa as a guest guitarist providing leads, which are absolutely excellent; well elaborated and personal, while still knocking your socks off. The multidimensional ‘’Moonick’’ reveals it all; from the doom-y introduction to that catchy tremolo motif near the end to that well executed and elaborated final solo, it’s pretty much perfect. Keyboards appear frequently, but fortunately the band never relies on them by throwing the guitars off into oblivion. The band seems to be aware that it’s guitars that make or break an album, (you’d think it’s obvious but plenty of bands sadly think otherwise!) but not Mystifier. I’m glad the band realized this, because to me, guitars + keyboard as a second instrument often means magic. ‘’Moonick’’ starts off with that doom riff around the majestic keys, things become rather divine and that’s just the introduction of the epic – by the time the track reaches the third minute mark, things become rather diabolical for a while.

Only ‘’Idolatry’’ comes off as something inferior to the rest of the material. Halfway through it almost sounds as if things pick up, but in the end the track appears to be more a collection of random riffs with no real emotional depth to it than anything else.

So while this is the only Mystifier album that I really like, I can highly recommend it. Don’t you worry about that Dr. Strangelove imitator – he’s also capable of venomous growls and barbaric grunts. You wouldn’t think I’d make it through this album if it weren’t for those, would you?

Although this obscure 1996 cut from Mystifier's back catalogue deserved this re-release on the basis of it being the first ever vinyl edition alone, it is also an important piece of Black Metal history in dire need of unearthing and wider dissemination. 3 years in the making after Göetia this was an ambitious album that drew away from Mystifier's primitive roots by mirroring and even furthering a lot of what was going on in European Black Metal at the time, and was lightyears ahead of any of their South American peers. For the most part the playing is still raw and riddled with imperfections, but compared with the stifling and primitive school of blasphemy where they had their genesis this is incredibly layered and atmospheric stuff with more in common with the Hellenic and Central European, and occasionally English, styles of Black Metal.

Opening track “Give The Human Devil His Due” still has all the hallmarks of their first 2 albums- killer wicked solo, menace-dripping riffs, bestial vocals and those keyboards that littered the previous albums now swamp this one. The first example of them here combined with the whispered vocals give a sort of Cradle Of Filth/Hecate Enthroned feel, but elsewhere this has the rich, dense layers and ambitious structuring of the likes of Masters Hammer, Mortuary Drape and Necromantia. The lyrics too are a big signifier of the ambitiousness that no other Brazilian band was showing at the time, but for fans of real 80's Metal ov dess there is thankfully room for some Metalenglish speak as well- my personal favourite being “Hey! Have a look as your spirit is so weight” on the third track “The Death Of An Immortal (According To The Astral Light).”

Even compared alongside such timeless classics that this shares a sound with such as All The Witches Dance and Crossing The Fiery Path this album has aged remarkably well. In fact the only elements to take issue with are those that would have sounded as goofy in 1996 as they do now- namely the clean vocals. They range from wonderfully amateur attempts at Pavarotti-style tenor canti (good), but the heavily accented more spoken style are not quite as cool. In fact, those that begin the album are so daft it might even put first time listeners off venturing any further, and even many listens it will be hard not to giggle at that opening drunken splutter of “Attack fire against fire, when your enemies attack you.” The last time I heard vocals this absurd it was on the truly awful Monty Python-referencing album by French Thrash band Résistance that got slated in WOAF #1.

These dopey half-baked vocals are a bad that unfortunately has to be taken with the good on this album, but thankfully nearly everything else is of sterling quality. The keyboard parts tend towards extreme simplicity, very basic melodies made of only two or three notes, but their evocativeness cannot be understated- especially on “Idolatry.” The bass guitar deserves a special mention too for the strange melody it provides on “A Chant To The Goddess...” and also “The Death Of An Immortal” which has to rate as one of the strongest bass performances ever on an album in this genre. The album finale “Moonick (Why Does It Never Rain On The Moon)” is by far the best track on here though with its emotionally deep Death/Doom atmospherics mixed once again with that sickly, gothic Cradle Of Filth vibe, some great guitar lead work too courtesy of Headhunter D.C. man Paulo Lisboa and is a total riff-fest too to boot! The last minute and a half though are where it is really at; simply spectacular songwriting that moved South America out of the Black/Death Metal dark ages and paved the way for other ambitious acts from the region. Ignoring the ill-fitting 2 bonus songs that NWN! have tacked on to this, losing a point in the process for ruining the album flow, The World Is So Good... is one of the pieces of Black Metal wax you will pick up this year. [8/10]

From WAR ON ALL FRONTS A.D. 2013 zine- www.facebook.com/waronallfronts

Since most fans that end up picking up this album are familiar with Wicca or Goetia, let me cut to the chase and summarize how The World is So Good is DIFFERENT.

Keyboards. It appears anywhere throughout the album. It is in the intro and interlude (i.e. in the second track a piano is used), as part of a driving riff, and as atmospheric aid. Although they had used keyboards in Wicca and Goetia, it was more limited. Its more extensive use here dilutes the sound and makes it less aggressive, but it sure helps with building an eerie atmosphere.

Songwriting. Whereas Wicca and Goetia are pure evil in the most old school way imaginable, The World is So Good is evil but on a small dose of tranquilizer. This has much to do with the songwriting, which emphasizes on tempo change, melody, and odd touches here and there that diversify the sound, which by the way, has tinges of traditional and thrash flavour. Song structure is more complex, its progression less predictable, and overall more enjoyable once you got the feel for what the band is trying to do. The instruments play off each other nicely, with the trademark bass solos still present. I do not know if a drum machine was used.

Guitar solos. Two things. One, there are more of it so it is a nice change. Two, in keeping with the overall sound, the solos are more melodic as opposed to pure aggression. In fact they sound just a little bland and somewhat conflict with the typical Mystifier style. When I say this album sounds thrashy it is especially apparent in the guitar solos, which have an old school 80s sound in style and duration. But I cannot really complain since I love guitar solos and I always wished Wicca and Goetia had more.

Vocals. Here is where the difference is most significant. You will find something that has never been done by the band before, and that is vocals in the style of operatic singing! What is more, is that operatic vocals can be found in pretty much all the songs in variable doses. I knew about this before I bought the album, so I was not hugely surprised when it appears from the get go! At first it seems out of place, but gradually they won me over for two reasons. First, they are short bursts and do not overstay their welcome. Second, the vocalist actually has the pipes to pull it off competently. In addition, here and there you will hear thrashy screams that nicely complement the band's signature hybrid of black rasps and death growls. All I can say, is keep an open mind (ears), because the unique blend of vocals will grow on you. I personally love this album precisely for the daringly awesome hybridized vomits.

I personally enjoy all the above. I believe this album demonstrates tasteful and measured musical progression from the band, and their courage and self confidence to present it to die-hard fans who may not initially, or ever, embrace it with open arms. For me Wicca and Goetia will always remain the epitome of their output, but this album is also killer and should not be ignored by any account. The World Is So Good will be appreciated by fans whose musical comfort zone extends beyond the usual sounds of Blasphemy, Sarcofago, and Beherit.

I must take this opportunity to point out the true fucking brilliance of MYSTIFIER from Brazil. While on a Chicago trip I bought their 3rd album cleverly titled, "The World is so Good that Who Made it Doesn't Live There". Well, the quirk of their lyrical ideas evidenced by the album title and songs such as "The Barbarian Duelling with the Wise" and "Why Does it Never Rain on the Moon?" is only a novelty value on the surface of this obscure and occultic work of insanity. This is unique and exciting black death Metal of a clearly South American style, with brutally gutteral thrashings combining with eerie and magical doom passages. The vocalist on this album (I think it's the same guy as on the previous ones, the only white dude in the band) is just totally off-the-wall and crazy here, with styles all over the map. He even does this brilliant operatic wailing that just sounds so spine-chillingly eerie that I fear what will happen to me if I ever listen to this album while I'm smoking the devil's rings. The lyrics are strange but quite intelligent and an interesting read for sure. The recently rereleased CD version contains a bonus studio track (incidentally not as good as the rest) and the "Aleister Crowley" demo. Highly recommended to anyone who likes both rabid death Metal and eerie musical ritualism.