I think there’s a giant misnomer about this album, and that’s that the reason it’s so terrible is because it has possibly the worst production job of any well known record ever. To be fair, that is true to an extent. Even compared to some of the rawest and nosiest black metal bedroom demo projects out there, especially coming from the first wave scene where often aesthetic was more important than content, this sounds like it’s fucking album title. Hell, they named the sides to this record “Side Fuck and Side Off”, as if pleading you not to listen to whatever unholy abomination these gremlins created in their basement. Yeah, the production sucks ass, everyone knows this. But that’s not my biggest problem with this demo.

There are plenty of black metal demos with awful production that end up being great records. Abigor’s Lux Occulta is one of my favorite black metal Eps ever, and it certainly does not have a pro studio production job in the slightest. However if you’re not going to produce your album well, you have to make up for it by having impeccable atmosphere (something like Drowning the Light), or absurd songwriting that even the lowest bitrate can’t hide (Dies Irae’s Circle of Leth). This does not have any of that, or actually anything that even resembles a desirable album to listen to. The only reason I can’t give this a 0 is because the Unmixed side is miraculously better enough than the Studio mix (lol) side that I can hear some attempts at creating early black thrash that, while fuck awful, are not the end of the world. Quite simply, this isn’t just poorly produced, it’s so poorly written that it would remain shit if fucking Profound Lore got a hold of it. And keep in mind, I’m talking about the remastered version here. I don’t even want to know what an unmastered version of this album would sound like.

This is essentially a result of the zeitgeist of early black metal at the time, which was being as edgy as possible in reaction to to super clean and peppy popular sphere of new wave and other assorted post-punk and synthpop. That and a bunch of assorted white supremacist ideas and rejection of any kind of emasculation (although that came more into full force a bit later), but that’s relatively unrelated to at least this release. This release at it’s core, is an attempt to be edgy by young adults who I have no doubt would be making post-ironic kekistani memes on 8chan for hours a day if they were young adults now. There is no real attempt at music here, and in fact I’m certain this was an attempt at “anti-music” that so many early black metal and noisecore/grindcore bands tried to make for aesthetic purposes. I don’t inherently have a problem with that, but even in their own context, this attempt falls hilariously flat due to a lack of imagination (dudes only know how to play one riff), and for lack of a better expression, an unfortunate result of trying way too fucking hard.

I think the one major take away from this album, other than that it’s essential only due to who made it, is that I’m sad that this kind of energy isn’t harassed into creativity anymore. I love modern music, but we have a serious lack of truly edgy acts who don’t give a fuck what anyone says. Any attempt at being edgy is actually a serious political stance rooted in insane stupidity, and when someone actually does try to make edgy music, we get the shit stain on human history that is Fashwave. As much as I’m happy at the social progress society has made over time, a part of me longs for the days when someone could just say “fuck jesus christ in the ass” and then draw satan with a giant dick fucking jesus and it would be a revolutionary and funny statement, without actually having a specific and cancerous agenda. So while yes, this is fucking trash and everyone knows this is trash, I think it can still be appreciated not only as a representation of one of the largest steps in quality ever (I mean, from this to DMDS??? REALLY???), and a relic of a simpler time when saying fuck was absolutely hilarious on its own.

 1/10