Goatwhore - Vengeful Ascension

Goatwhore has undergone the kind of steady transformation that I like to see bands undergo: from young and clumsily kvlt black/death metal with little to help them stand out (‘cept for that great band name though, of course) to a band with a sonic identity and a style that suits them that not too many other bands are doing quite as well as they are. Their past three albums have been echelons above the three that preceded them. With Vengeful Ascension, they seem, however, to not be ascending any further, not that they have to. They seem to, instead, with this album, be planting their feet in their territory and reinforcing their presence as one of American blackened death metal’s primary figureheads. Whereas, on Blood for the Master and Carving Out the Eyes of God Goatwhore gave their sound a stronger identity and a more technically proficient backing, and on Constricting Rage of the Merciless they experimented with traditional thrash, Vengeful Ascension is more of a continuation of the sound they honed at the turn of the decade. “Mankind Will Have No Mercy” shows them adopting comfortably the slightly more direct thrash they toyed with on their previous album, and certainly shows how proficient they are at this craft as well, incorporating it fully as part of their identity after its successful experimentation. “Under the Flesh, Into the Soul” is exemplary of just how well-defined their sound is now and how masterfully brutal it works: the drumwork and the guitarwork seethe in a space in between death metal and thrash while Ben’s vocals hover between black and thrash. The title track is a tight blend of mid-paced death metal and has some of Ben’s most deadly throaty howls and perhaps gives credence to the album’s title as the band do sound like they have perfected their sound. The awkward choked crashes and guitar strums on “Where the Sun Is Silent” (which are later redeemed, but not quite fully or memorably) are exhibition of even a band as comfortable in their sound as Goatwhore sounding uncomfortable. The high guitar notes with a hint of reverb on “Drowned in Grim Rebirth” pairing nicely and ethereally with the blast beats below continue to show that Goatwhore are keeping the bar high. Once again, Goatwhore has come through with a now-expected strength and delivered one of the year’s better albums for the people that have appreciated their gradual ascension with no concern any more as it appears about converting those still hard-hearted toward their music.