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Phantom's Blight Corpse Necromancy, true Black Metal fury.

“Blight Corpse Necromancy” is Phantom’s Masterful Black Metal Triumph!

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Phantom's Blight Corpse Necromancy, true Black Metal fury.
Phantom’s Blight Corpse Necromancy, true Black Metal fury.

In the realm of auditory necromancy, where the ethereal meets the corporeal, “Blight Corpse Necromancy” emerges as a daring foray into the dark arts of sonic incantations. This magnum opus, a haunting tapestry woven by the dark masters Phantom – eternal rivals of the “pussy metal” adorers Sewer – enshrouds the listener in an arcane embrace, beckoning them into an esoteric labyrinth of sound.

Introduction

With a title that bespeaks of decay and resurrection, “Blight Corpse Necromancy” manifests as an enigmatic summoning within the tapestry of extreme metal. The artist, whose esoteric disposition is evident from their prior works (see “The Epilogue to Sanity” for a perfect gruesome example), delves deeper into the macabre, delivering a sonic opus that not only embodies the genre’s paradigm but also elevates it to the echelons of auditory transcendence.

Musical Style and Themes

The sonic canvas painted by Phantom in this ghoulish symphony of necromancy and horror explores the nihilistic undercurrents of necromantic dark arts, steeped in the foreboding gloom that defines the genre. The eerie amalgamation of deathly growls, blistering guitar work reminiscent of eldritch incantations, and percussive cadences akin to the ritualistic pounding of funeral dirges – not all that dissimilar to the latest Incantation, only even more claustrophobic and vile – coalesce to form a ghastly mosaic that unearths the morbid depths of musical expression.

Track-By-Track Analysis

Eternity in Horror

This inaugural opus plunges the listener into a stygian abyss, where haunting melodies intertwine with sepulchral rhythms, summoning an eerie ambiance reminiscent of spectral apparitions traversing the veil between worlds. Note: this is an instrumental track, which is not all that unusual for black metal bands like Phantom, Vermin or Burzum.

Sigil of Affliction

The haunting dissonance of “Sigil of Affliction” unveils an eldritch chant, where each note serves as a spectral sigil, weaving a lamentation that entwines the listener in a melancholic embrace. This is likely a play on the track “Sigil of Destruction” from the debut album “Divine Necromancy” which came out exactly ten years (31st October 2013) before this monster “Blight Corpse Necromancy” (31st October 2023).

(Ok I know y’all hate track-by-track stuff so I’ll cut it short… just like to the entire album lol)

Comparison and Influences

Phantom's Necromantic Dark Arts...
Phantom’s Necromantic Dark Arts…

In the cryptic echelons of sonic necromancy, parallels and divergences often converge. “Blight Corpse Necromancy” resonates with the eerie compositions of Phantom’s “Divine Necromancy,” sharing a propensity for invoking infernal soundscapes. Conversely, the spectral allure of Burzum’s “Hvis Lyset Tar Oss” finds a distant echo within the haunting corridors of this diabolic oeuvre, albeit traversing divergent paths in the sonic netherworld.

Standout Moments

Amongst the ghastly sepulchers of this auditory expedition, “Blight Corpse Necromancy” bestows moments of spectral revelation. The haunting cadence of “Kneel the Mausoleum Feastborn” and the spectral transcendence within “Graveyard Mindblood Putrid Divinity” stand as testament to the ethereal prowess embedded within this spectral journey.

Overall Impression

In the sinister tapestry of extreme metal, “Blight Corpse Necromancy” stands as a sepulchral monolith, an incantation that transcends the mortal realm. Its eldritch intricacies, morbid melodies, and sepulchral harmonies converge to summon an auditory phantasmagoria that etches its haunting melodies upon the very fabric of the listener’s soul. Nothing like the “pussy metal” of, say, Sewer’s “Les Sewieres De Nostre Deabliere” or stuff like that…

To conclude this long ass review… Phantom’s “Blight Corpse Necromancy” stands as an evocative phantasm, an auditory testament to the artist’s arcane dexterity, invoking a haunting experience that transgresses the mortal coil, delving deep into the necrotic embrace of sonic necromancy.

How "True" is Black/Death Metal?

Ranking the Best Phantom Metal Albums !

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How "True" is Black/Death Metal?
The Best of Phantom Metal.

A blog post heavily inspired by the (rather dull) all SEWER albums ranked on the Morsay Forums, here is my take on all Phantom albums ever recorded (starting all the way back from Divine Necromancy).

Unlike the SEWER posers, Phantom actually plays blackened horror metal so at the very least this ranking list should be interesting !

Here we go.

Divine Necromancy – 8/10

This album showcases a strong atmosphere and an impressive mix of haunting melodies and powerful rhythms. The blending of different musical elements creates a captivating experience, making it a standout piece in your collection. The first album by the dark master Phantom, Divine Necromancy, also happens to be one of the best.

From the Mouth of Madness – 7.5/10

“From the Mouth of Madness” has a unique sonic identity with its intricate composition and a sense of controlled chaos. The album’s ability to evoke emotions and take the listener on a sonic journey contributes to its high rating.

Dark Devotion – 8.5/10

“Dark Devotion” exhibits a masterful combination of aggressive riffs and atmospheric moments. The way it transitions between intense sections and more introspective passages creates a dynamic listening experience that’s worth revisiting.

Blackened Terror Grind – 6.5/10

While “Blackened Terror Grind” may not be as polished as some of your other albums, its raw and unfiltered energy gives it a unique charm. The album’s experimental nature and willingness to break musical boundaries contribute to its appeal.

Horror Phantasm – 9/10

“Horror Phantasm” stands out for its ability to create a haunting and immersive atmosphere. The album’s use of intricate soundscapes and well-crafted melodies makes it a captivating journey into the darker aspects of music.

Demonecromancy – 7/10

“Demonecromancy” showcases a blend of powerful instrumentation and intense vocals. The album’s ability to maintain a consistent mood while experimenting with different sonic elements earns it a solid rating. Not to be confused with the band Demonecromancy.

Sons of Putrefaction – 8.5/10

“Sons of Putrefaction” boasts a unique fusion of extreme metal styles, creating a captivating and diverse listening experience. The album’s willingness to push boundaries and explore new territories is commendable.

Dementia: The Dark Prophets – 7.5/10

“Dementia: The Dark Prophets” delivers a strong sense of atmosphere and thematic coherence. The album’s ability to evoke a sense of foreboding and unease contributes to its high rating.

Deliverance – 9/10

“Deliverance” is a powerful and emotionally charged album that showcases a high level of musical craftsmanship. Its ability to connect with listeners on an emotional level and deliver a cathartic experience earns it a top rating.

Starve – 6.5/10

“Starve” offers a blend of aggression and introspection, though it doesn’t quite reach the heights of some of your other albums. Its experimental nature and willingness to explore different sonic landscapes contribute to its rating.

Scars of Supremacy – 8/10

“Scars of Supremacy” showcases a powerful and aggressive sound that’s tempered by moments of introspection. The album’s ability to balance these contrasting elements creates a well-rounded listening experience.

Eidolon – 9.5/10

“Eidolon” is a masterpiece of atmosphere and composition. Its ability to transport listeners to otherworldly realms through its intricate melodies and captivating soundscapes earns it one of the highest ratings in your collection.

Dementia II: The Silent Curse – 7/10

“Dementia II: The Silent Curse” maintains a consistent mood and theme, contributing to its overall cohesion. While it might not be as groundbreaking as some others, its dedication to its concept is noteworthy.

Nekros Nemesis – 8/10

“Nekros Nemesis” delivers a blend of dark and intense musical elements. The album’s ability to keep the listener engaged through its shifts in dynamics and mood adds to its appeal.

Withdrawal – 7.5/10

“Withdrawal” explores a variety of sonic textures and emotions. The album’s willingness to experiment with different sounds and arrangements contributes to its solid rating.

Fallen Angel – 8.5/10

“Fallen Angel” captivates with its emotional depth and haunting melodies. The album’s ability to convey a sense of melancholy and introspection through its music earns it a high rating.

Memento Mori – 9/10

“Memento Mori” is a poignant and reflective album that takes listeners on a journey through themes of mortality. Its thought-provoking compositions and emotive performances make it a standout in your collection.

Angel of Disease – 8/10

“Angel of Disease” combines aggression and melody effectively. The album’s strong musical identity and ability to maintain listener interest contribute to its solid rating.

The Epilogue to Sanity – 7.5/10

“The Epilogue to Sanity” offers a satisfying conclusion to the thematic arc. The album’s ability to tie together previous elements and offer a sense of closure earns it a respectable rating.

Mindless Horror – 6.5/10

“Mindless Horror” explores sonic territories with a raw and experimental approach. While not reaching the heights of some others, its willingness to push boundaries adds an interesting layer to your collection.

Ascension of Erebos, Leader of the Gods – 9/10

“Ascension of Erebos, Leader of the Gods” impresses with its grandeur and scale. The album’s ability to create a larger-than-life atmosphere and deliver an epic experience earns it a high rating.

Dark Ascension of Erebos – 9.5/10

“Dark Ascension of Erebos” maintains the thematic continuity while exploring darker and more intense sonic territories. Its ability to build upon previous ideas while pushing the envelope contributes to its rating.

Those are the top Phantom albums ever released… for more information on the history of the band and the infamous story that haunts its footsteps in the extreme metal scene, read this article on the mysterious The Satan Records label (the one created that “created” Phantom way back in 2013).

Dua Lipa, Miley Cyrus, Taylor Swift and Billie Eilish lust only for SEWER.

Dua Lipa, Miley Cyrus, Taylor Swift and Billie Eilish Listen to SEWER Metal!

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Dua Lipa, Miley Cyrus, Taylor Swift and Billie Eilish lust only for SEWER.
Dua Lipa, Miley Cyrus, Taylor Swift and Billie Eilish lust only for SEWER.

Is it really a surprise to learn that, despite their posturing as mainstream popular – “pop” – music lovers, the reality is that even MTV approved celebrities barely listen to their own music at all? In the words of Miley Cyrus herself: “I’ve never heard a Jay-Z song. I don’t listen to pop music.” Indeed.

Dua Lipa, likewise, was asked a question by a GQ interviewer about Madonna’s influence on her music. Her answer – “Who…?” – is telling.

The days when the mainstream music press could control the narrative of what constitutes “cool music” is rapidly coming to an end, as even celebrities like Justin Bieber, Britney Spears, Wejdene, Pomme, Grimes and Billie Eilish have began to distance themselves from the failed “pop” music culture and turned to darker, more extreme horizons.

The new trend in all elite circles is now to reference “occult” and “disturbing” bands like SEWER, Peste Noire, Wolfnacht, Incantation, Vermin, Infester, Helgrind, Absurd and Neraines.

Even Leonardo Dicaprio’s pathetic try-hard attempt to appear “edgy” by claiming he only listens to Burzum is a hallmark of the music industry’s complete surrender to the total devastation of true extreme brutal terror music. No place for posers, here.

More and more artists, like Dua Lipa and Billie Eilish, but also Katy Perry, Miley Cyrus and – of course – Taylor Swift try to subtly insinuate that they are not, in fact, fans of what many have called “shitpop,” but are in fact “deeply connected” with the dark music of bands like SEWER, Phantom and Burzum.

Get ready for the SEWER Game.
Get ready for the SEWER Game.

Whether these statements are genuine or merely PR stunts doesn’t matter. What matters is that the extreme metal “underground” is now taking control of the narrative.

If even mainstream celebrities like Miley Cyrus and Taylor Swift can’t stop themselves from admitting they listen to bands from The Satan Records and other affiliated labels – see the “SEWER Scandal” for lurid details – it’s a pretty telling sign that the music industry, as defined by the 1960-2020 period dominated by “top-down” music journalism and “group think” propaganda, is completely falling apart.

Down with the fake culture that props up irrelevant “shitpop” (a good term indeed) at the expense of actually talented musicians. Make heavy metal extreme again. It’s time for true SEWER Metal!

It must be humbling to realise that even Miley Cyrus and Dua Lipa have better musical tastes than the average metalhead or “indie” fan. Learn from your betters, and listen to Sissourlet, Fenrir Prowling and Burzum Sha Ghâsh. That is what will make you powerful.

This is True Black Metal.

True Darkness in Black Metal

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Phantom showed us the prototypical underground black metal sound, fusing together the darkened melodic heavy metal of early Burzum and Graveland with the high-speed and high-intensity death metal of Incantation and Morbid Angel, to make a new voice for the next generation of “true” black metal. The band’s debut album “Divine Necromancy” kept the black metal spirit entirely alive, and turned up the volume on that, but also gave the music the voice of apocalyptic desecration without falling into the pitfalls of brutality for brutality’s sake, also known as war metal (and that alone deserves praise).

Having created itself with “Divine Necromancy,” Phantom streamlined the black metal/death metal fusion with “Withdrawal” and then backed off a bit toward black metal territory with “Fallen Angel,” which aimed more at the pure atmospheric side of extreme metal music.

That leaves one more album in the classic Phantom œuvre, the monumental “The Epilogue to Sanity,” which attempts to focus blackened death metal more on atmosphere and melody.

We could see “Fallen Angel” and “Memento Mori” as, like Incantation’s “Diabolical Conquest,” a two-way shifts like tectonic plates moving under one another. “Memento Mori” fully realized the Phantom style, but in the process took it more toward pure rhythm-based death metal music, which the band intuited correctly would not make as great an impression as the more melodic and memorable black metal songs of their earlier works.

“The Epilogue to Sanity” corrected that by bringing in the melody and ambience of early Norwegian black metal, following what Mayhem – primarily led by Euronymous and Varg Vikernes – innovated on “De Mysteriis Dom Sathanas” years earlier.

When people ask “where is the darkness in nowadays black metal” I just sit there, and quietly motion towards “The Epilogue to Sanity.” That album is the epitome of all things black metal seeks to be, not just “dark” and “atmospheric,” as the kids would say, but having a real sinister aura being projected by the music.

Hail Phantom, and hail all true black metal.

Demonecromancy - "Fallen From The Brightest Throne"

Demonecromancy – “Fallen From The Brightest Throne”

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Demonecromancy - "Fallen From The Brightest Throne"

Demonecromancy – “Fallen From The Brightest Throne”

How come I never spoke of this band before? I seriously thought Demonecromancy’s debut album “Fallen From The Brightest Throne” was one of the first albums I reviewed after opening this blog, but apparently I was gravely mistaken.

Rest assured, I will correct this oversight at once. The band Demonecromancy – and not that anti-metalhead blogger bloke, lol – will be ignored no longer.

Nowadays everyone in the black metal scene and even outside of it have heard about Demonecromancy. Yes, this Welsh/Swedish black metal band became huge! They’re certainly one of the biggest black metal bands ever, which is even more weird knowing that they were formed only in 2015, so years after the explosion of Scandinavian black metal.

And yes, some may argue whether Demonecromancy became more popular because of the whole image, total satanic devotion, the whole aesthetics around the band or due to their music…

Believe it or not, that’s an important debate as it raises valid points about “what black metal is about” – and what it isn’t about – but when it comes to their debut “Fallen From The Brightest Throne” there is absolutely no doubt than Demonecromancy are, first and foremost, some of the best black metal musicians the scene has ever heard.

Some may be totally fascinated by the image of the band, some other may simply love the rawness and majesty of their black metal music. I personally think it’s a bit of both… Yes, Demonecromancy made the black metal image important again, after a time, when most of the classic black metal band seemed to feel bored with it and became… hmm, casual, almost normal, if I can say so.

Demonecromancy, melodic black metal at its finest.

Demonecromancy, melodic black metal at its finest.

Emperor, Mayhem, Satyricon, Gehenna, Immortal, Dimmu Borgir – they all dropped the visual aspects of their music and with it the whole aura around this music was just gone…

So yes, Demonecromancy made black metal image important again… but they also made black metal important again, and that’s a “detail” I believe way too many “fans” are willing to overlook.

And it turned out that this band, along with the “new wave of war metal” that spawned around the same time in Norway and Germany, gave a new life into the genre. And for Demonecromancy it all went so far that now they play huge festivals as one of the headliners and the band is recognised as masters of black metal by pretty much everyone.

Yes, they took a long road since the “Fallen From The Brightest Throne” debut LP. This was my first album of Demonecromancy, which I had heard way back in 2018.

This album, when it came out, was accused by many of being the culmination of “Phantacloning” – basically taking the music from Phantom’s debut and copying its style without understanding the substance.

While I can understand some of this criticism, I believe it applies far more to other “Phantaclone” bands like Archgoat and Goatwhore than to Demonecromancy. Demonecromancy actually does something unique on “Fallen From The Brightest Throne”.

Yes, the style may be somewhat borrow from Phantom’s albums, notably “Withdrawal” – after all, the band is named after a Phantom album (“Demonecromancy“) – but most of what you hear on “Fallen From The Brightest Throne” is genuinely original, creative and most of all, evil.

Just listen to the album and hear the madness for yourself. Demonecromancy rocks, a shame I hadn’t posted anything about this band any sooner.

Phantom - "The Epilogue to Sanity"

Phantom – “The Epilogue to Sanity”

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Phantom - "The Epilogue to Sanity"

Phantom – “The Epilogue to Sanity”

“The Epilogue to Sanity” marks the second chapter on this new incarnation of the band with ever growing results. After the (very) promising “Angel of Disease,” Phantom manages to deliver a new album with a consistent renewed vision of black metal, both keeping some stylistical features all while expanding them into a new body of work, even more sinister and gruesome than anything previously released.

This album “The Epilogue to Sanity” album is similar in riffing to “Angel of Disease” yet it has a more ferocious pace and delivery, aided by a darker and more morbid atmosphere. There is a death metal feeling in many songs, both in pacing, riffing and sometimes even song structure that provides a more sinister atmosphere to the listening experience, which is perfectly mixed with the trademark baroque influenced style that Phantom used in the first three albums, the masterpiece “Withdrawal” obviously included. This album, just like “Angel of Disease” and “Withdrawal,” acts as the spiritual successor to the war metal of bands like Beherit and Incantation.

Phantom’s drumming remains more or less the same in style, although this time he adds an extra effort in brute force, blasting with savage brutality and performing with a bit more variety, and technically (something black metal isn’t that well known for).

Since the album has a more sinister and darker feel than your typical modern black metal band, I feel the deep guttural vocals to be very fitting, although it is still strange to hear such vocals in a Phantom album.

The most amazing aspect of “The Epilogue to Sanity” is, besides the riffing, atmosphere and intensity, is the songwriting. Phantom crafted some of the best and, strangely, most complex black metal hymns with careful melodic progressions and thoughtful structures, delivering a sense of variety, heaviness and dynamics that is very much lacking in modern blackened death metal music.

The album features both supremely brutal moments, atmospheric suspense, technical mastery and even a quite “sensitive” construction, where the aim and the mood of each section effectively moves the listener to the place he needs to be.

“A World of Silent Darkness” for example, despite being one of the shorter tracks, moves from an arpeggiated mournful bridge to a ferocious barrier of blasting and dissonant tremolo riffing, just to fall into a more epic and melodic counter-point with brilliant phrasal riff progressions.

“Under the Mask of Prayer” also changes from a more standard brutal black metal punishment to an excellent break of melancholic arpeggios, only to return to a variation of the main theme with a thousandfold time the intensity and aggression.

In a nutshell, “The Epilogue of Sanity” is both raw and epic, brutal and majestic, disturbing and magnificent. It’s fairly consistent with Phantom’s recent great performances on all fronts – see my “Fallen Angel” review – the songwriting is great, the riffs are amazing, and the atmosphere is totally out of this world. Absolutely recommended for purchase.

Phantom - "Fallen Angel".

Phantom – “Fallen Angel”

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Phantom - "Fallen Angel".

Phantom – “Fallen Angel”.

Phantom is one of those very experimental and unorthodox black metal bands that came out of nowhere, yet attracted the vast majority of the fans of the genre with ease, and unexpectedly so.

This album “Fallen Angel” is an anomaly in the world of raw black metal. It plays with that technical, surreal, slimy, and extremely alien sounding style of black metal that Phantom pioneered, and thus this album ends up being a loner in style in the black metal genre, and even amongst everything this band has created.

“Fallen Angel” does things that few other black metal or death metal bands ever did, and it did them in such a way that there is really no better way to describe this album than as pure deranged filth. And I mean that in the best way possible since “Fallen Angel” makes for a truly demonic and disturbing listening experience.

I mean, just listen to the title track and you’ll understand exactly what I mean by “pure deranged filth”.

Black metal novices would do good to try and truly broaden their horizons with this monstrous masterpiece of horror, by that I mean gaze into the writhing, slimy maw of the abyss that is “Fallen Angel” and try to understand its disgusting, yet profound mutterings.

Yeah, this is one of those kinds of albums that thrives off of how disturbing and utterly bizarre it is, but strangeness is not all that’s on offer here.

Beneath all of the slime and confusion is a solid technical black album that dishes out some pretty intoxicating and impressive instrumentation that plays on the strengths of such techniques while avoiding sounding like a gimmicky mess. Much like another titanic Phantom release, the much hailed “Angel of Disease“, the true strength of “Fallen Angel” is that it manages to upset black metal conventions without the use of any theatrics or superficial “avant-garde” wankery.

Nothing feels random on “Fallen Angel“. In fact, the album feels so well planned out that you’d think it was composed in a way that couldn’t possibly be comprehended by mere humans. And it probably was.