Hellgoat is an American black metal band from Atlanta delivering raw, trebly black metal to the ravaged masses. They have stayed more or less true to the ethos of the second wave through a smattering of demos, EPs and LPs, only stopping once or twice along the way to up the fidelity by marginal amounts. Death Conquers All is their second full length, originally released in 2011 by Graveless Slumber Records, but recently released by Boris Records.
“Slay the Lamb” starts off the proceedings by strategically scaring away any person not fully devoted to the blast. The track is a pure second wave assault; Scorching white noise guitars riding on a drum track that stays blasting for 90% of the song. The bass faithfully sticks to whatever the guitar is doing, while a Grutle Kjellson-like rasp guides the troupe through the blood red fog. This track is as straight-forward as it gets when it comes to black metal, but fear not, Hellgoat has a lot of unexpected tricks up the sleeves of their sacrificial robes.
Already by the second track, the Trve is starting to give way for more adventurous impulses. The track is more low-end heavy, and breaks up the regularity with some irregular bars and a discordantly doomy bridge. The song structure also treks beyond the three-part simplicity of its preceding brother. By the beginning of “Summon Him”, I’m already starting to envision clichés of black metal iconography slightly warped. The ceremonious intro creates a strange atmosphere, conjuring the picture of an altar on wheels being rolled out in front of a rapaciously worshipping congregation. The wheels are a tiny detail separating the scene from any ordinary satanic worship, and so it is with Hellgoat’s music. The details separating this album from any other bare-bones black metal album are tiny, but they’re present.
The band continues to mine a sound combining the unrelenting but hooky power of Gorgoroth with occult doom bridges in the vein of old Candlemass. Completing the elixir is the rare speck of punk-ish snarl, like the straight-outta CBGB riff that is well hidden behind the blast-beat-as-side-chain section of “Summon Him”. The band varies up their attack every so often, toying with the familiar style in subtle ways so as to not tire the listener. At the record’s B-side, the band opens up its sound to include slightly more noticeable detours, injecting the latter parts with vigor. “Feast of the Goat” has a bridge where the bass actually gets to lead the flock for a couple of bars, while “Behold the Tempter Spoke” inserts phaser effects and bass arpeggios, progging up the proceedings substantially. This evolution crests naturally with the longest song of the record, “March of the Corpse Rats”, where Enslaved-stomp and gently twisting 777 Sect(s)-lite riffs entwine in musty lovemaking.
Death Conquers All presents enough subtle twists to entertain the knowledgeable and corpse-painted cretin looking for crinkles in the black metal carpet. The production, while beefier and more listenable than the mix on their debut, is still pretty rough if you’re not into the demo-quality of most second wave projects. But if you’ve spent a fortnight under the freezing moon, and still find the boreal valley as appealing as ever before, then the searing noise of Hellgoat can prove a worthwhile companion through the night.