Manifestations 2002

Ahhh... now THIS is what nature intended when Deathspell Omega was lathed from the shocked quartz fragments of pioneer black metal monoliths Hellhammer, Sodom, Darkthrone, Mayhem, etc. The 2008 release of 'Manifestations: 2002' represents a complete album of "lost" material that resides somewhere on the crossroads of 'Inquisitors of Satan' and 'Si Monumentum Requires, Circumspice'. It bears the black mark of Shaxul's final outing with the band; perhaps the fate, and final achievement, of the original line-up was always written in the cards... preordained by the threads of fate. And, of course, where upheaval is found, inevitably change will follow. And so Mikko Aspa, having had prior contact with the band, was evidently waiting in the wings for his opportunity, wheezing with baited breath.

For me, Clandestine Blaze has been a consistently solid force within the Finnish bm scene. However, when considering the whole of Aspa's musical catalog, I can't say I was ever a true fan of his. The majority of the musical projects he's endeavored in, for which I've heard, have a distinct air about them that wreaks of a sweaty, lumbering, misogynistic, night-stalking repugnance that I cannot shake. It just gets under my skin. That being said, his arrival marked a pronounced change in the band's overall sound for which they would come to be known for, and popularized, by fans and critics alike. In my opinion, Mikko didn't do 'Si Monumentum...' any favors with his vocal styling as it seems at cross-purposes. While the performance was somewhat similar to that of his Clandestine Blaze efforts, there's a distinct difference to it. It's grimier, and more foul sounding which is great in proper context, but this doesn't feel it. And it leaves me wondering, if not longing for, how the album would have sounded if Shaxul had still be on board, and they had stayed true to the production standards found on previous albums.

'Si Monumentum...' starts the ball rolling in terms of that change in sound production, and how they would come to morph artistically in the future. The sound on SMRC is overall a bit thicker than in the past, especially the percussion, but the high end of the mix seems to be flattened out to blend in with the mids. The most jarring change comes in the form of all the discordant riffs which remain highly dependent on airy, temolo plucking but seem to have less distortion/overdrive on them than in the past. It makes for an extremely odd and tedious sound as songs seem to noodle on to the point of wearing thin their welcome in most cases (album is nearly 80 mins long, btw). In my humble opinion 'Fas - Ite..' and the following releases are a mostly foul and unpalatable tripe, ala Portal, which is a band I thoroughly do not enjoy. The resolute focus on droning, dissonance and torrentially forced tempo changes with a lack of any organic flow, to the detriment of all else, is just unbearable. If I were to suggest an example of how this sound could be achieved in manner that was monstrous and engaging, I would point directly to Malthusian's 'MMXIII' demo instead.

Gripes with performance artists and changing vision aside, 'Manifestations: 2002' is the missing link in the chain that connects the 2nd wave bm horde adepts, to full-fledged commercial juggernaut of progressive, black metal orthodoxy. As the final puzzle piece in DsO's expansive first phase discography, it is one of a certain, special magnitude and charm. Now you might already know, but the material on this compilation was originally slated for two individual releases: 1) Crushing The Holy Trinity Compilation, and 2) a split with a group called Cantus Bestiae. The split never happened, and a massive track written around the time of the Kenose EP was used for the Holy Trinity compilation. Fortunately for fans of the older material, the essence of this release retains an acrid, aggressive quality in much of the same vein as 'Inquisitors of Satan' and the split with Clandestine Blaze.

The music found on earliest DsO is fundamentally a synthesis of 'Deathcrush' Mayhem and Darkthrone's 'Transilvanian Hunger', to give you some of the most immediately accessible analogs. This album, however, is that and a bit more, seemingly drawing on the influence of 'Nattens Madigral' Ulver, and 'Pure Holocaust' Immortal to a lesser extent. Being filtered through enough buzz-saw feedback to out-spook a screech owl's trill, the album certainly aims to please for fans of the aforementioned. Drumming here is fairly competent, rigorous blast-beating throughout; on the whole, it seems mostly supplemental to the compositional tension, occupying a consistently solid presence in the mix. Not to be outdone, Shaxul's vocal performance proves once and for all that his chops are just as razor sharp as they day they were cut... providing one of the most stirring performance of his career with the band. The venomous quality of his cords are abundantly evident at the onset of this treacherous affair. He even manages to give a more rousing and eclectic an effort on tracks 3 and 7 than had ever been heard before. On the whole, the song-writing was also taking a turn for the better at this time, heading toward what would be fairly ubiquitously hailed as the quintessential era of the band.

Being that this is the last effort put forth by the old lineup, I can easily recommend it as a highlight showcase for their old-school approach to modern black metal; the 2nd wave aesthetic intact for one last time. And yet, the leanings towards a more progressive song-writing style is evident throughout. The slightly longer song lengths give the tracks room to gallop, and DsO builds upon their fundamental craft thru an expansion of guitar harmonic technique. This was achieved by creating a droning, and at times repetitive, atmosphere spurred on by compositions deemed more unconventional within the framework of raw, 2nd wave black metal. But there is clear delineation of intent here. Straying from the traditional structures and artifices of old wasn't some abrupt paradigm shift, as anyone who has heard their early split releases can attest to. To break their change down to just "repetitive droning" wouldn't do what the band was achieving at this point any justice. I am reminded of other orthodox releases, some of which immediately come to mind are Ondskapt's 'Dodens Evangelium' and Flagellant's 'Monuments', but with 'Manifestations: 2002' being a distinctly more dissonant and high-octane incarnation. Perhaps the best frame of reference here is DsO themselves, as there's quite a bit of 'Inquisitors...' style that can be heard in this release (as opposed to the more primitve sounding 'Infernal Battles', for example). But it is done with even more of a focus on moving into that sphere of "orthodoxy" they would come to be known for. Much more obstreperous, atonal and droning than ever before ("Monotonous Ecstasy of Death" is a great example of this, albeit one of the slower offerings on the album).

This is a truly solid offering in the Deathspell discography and shouldn't be missed by fans on either side of the stylistic argument. This is the final chapter in the book of old Deathspell Omega. If you liked 'Inquisitors...' and 'Manfestations: 2000-2001' you should find plenty to sink your teeth into here.

2007 saw the release of "Fas – Ite, Maledicti, In Ignem Aeternum" as the second panel in a monumental triptych begun three years prior. It was a clear departure from many standards of Black Metal, even the revolutionary "Si Monumentum Requires, Circumspice." Many fans embraced this new brand of dark, calculated chaos. Abandoned were those too conservative to stray beyond their Black Metal orthodoxy.

For this latter group (but really all DsO fans in general) the "Manifestations" compilations are a glorious blessing. We feel like archaeologists who discovered a lost history. This is especially true on "Manifestations 2002", of which no material was released prior. Like filling in gaps in the fossil record, we can now appreciate how these French Darkthrone worshippers evolved into the apotheosis of Black Metal’s 3rd wave.

So you can see why those wary of the latest material are beyond excitement. Just the artwork itself foreshadows the storm of darkness and hatred unleashed upon pressing play. “Tyrants And Slaves” delivers such an assault, with relentless blast-beats and oppressive riffing. Rasping amidst the tempest are Shaxul’s shrieks, higher pitched than Mikko’s signature growls, reflective of the band’s adolescence. This track also showcases the haunting melodies their lead guitars are capable of.

As a transition piece, "Manifestations 2002" reveals a step up in complexity and a firmer grip on their craft. With this they rise to a level beyond even their countrymen Antaeus’s latest output, "Blood Libels." But amidst this passion and vigor we find elements employed in their later material. For example, “Procreation Epidemic” contains the same melody used to greater effect in “Kénôse II” three years later. With this compilation (though all from a single recording session) the jump from the formulaic "Inquisitors of Satan" to "Si Monumentum…" no longer seems miraculous, but a logical progression. The music itself is evidence of a turbulent era, from which Shaxul departed the band, citing the clandestine philosophy that DsO was adopting.

This is by no means a money-grabber compilation of B-sides. This was material intended for release, but pushed aside in preparation for the band’s monolithic breakthrough. Currently on their way to the trinity’s conclusion, the band has unveiled a hidden chapter crucial to understanding the coalescence of a cryptic vision. And even for those new to the band, this is the perfect place to start. For this is supreme quality Black Metal by any standards: vicious, melancholy, and dark as the depths of Erebus. "Manifestations 2002 is" further proof that Deathspell Omega are the pontifices maximi of post-millennium Black Metal.