No Colours Records

Inquisition's fifth full length of devoted Satanic black metal is what anyone should expect of the band, while not sounding at all derivative of past works. The production is crisp and clear, without falling into a betraying, modern sound unfit for such music. They've achieved an almost perfect sound on this release, with a full, dynamic range and powerful clarity for every instrument while managing to retain the feel of black cosmic voids. The guitar tone is Dagon's own monolithic, perfectly crafted distortion, owing to a firm understanding of the importance of the instrument's sound when playing black metal of this caliber, in this style. Too often black metal bands with a production value on the higher end of the scale will sacrifice the harshness and severity of tone for a cleaner, compressed, and pitifully "modern" sounding lifeless quality. It should be no surprise that Inquisition have not made such a sacrifice. 

Dagon's riffs carry the violent thrash of the past, quickly blasting chords in magnificent patterns and orderings that reach beyond the predictible stylings of much thrash to a higher level of ritualistic execution aided by Incubus's rapid drum-storm, but also move into the threatening, slow, ambience-creating density and melodic subtlety designed for maximum occult soundscapes that demonstrate excellent use of dynamics. The riffing is incredibly intelligent and streamlined, though sometimes moving into a complexity not familiar to black metal or thrash, with each transition and change of pace fluidly executed to precision. The irregular leads act as mediums for cosmic exploration rather than as spotlight stealing attention grabbers as they do in thrash or heavy metal. His mesmerizing chants and raspy-throated atonal voice invoke images of ancient, obscure cults conducting unknown business under moonlight in the forests, not veering far from the style that continues to work in this context, though sometimes, encouragingly, exploring a different form of wickedness that  reminds one of plenty of other black metal vocalists. On occasion, the mind-raping string bends during the slower moments, like those found on the bleak and mystical "Desolate Funeral Chant", not something new for Inquisition, remind the listener who they're listening to as if there was ever any question. This effect continues to be extraordinarily powerful. A couple passages may briefly remind one of a section of music from Blut Aus Nord, although the overall atmosphere of both bands differ greatly. 

Incubus's drumming is precise and relentless, a craft in which he's consistently demonstrated his elite skill. Dagon's riffing would hardly work to the extent it has with any other drummer. It isn't only highly skilled drumming, it's smart and effective, acting as a more significant aspect of the music than percussion tends to play in metal in general. His speed and simplicity go on when it is most fitting, but greater complexity enters the picture when Dagon's performance calls for it. The final impression is that both percussion and strings play an equal part in the way Ominous Doctrines of the Perpetual Mystical Macrocosm feels as a whole, without drums taking a back seat or simply existing as an aid  to the primary focus.

Every track is distinct and the album never feels as if it is repeating itself, or recycling ideas, because the song structures are interesting, sometimes unexpectedly varied and sophisticated, other times deceptively simple and centered around some esoteric theme and mood. While listening, I always get the impression that every move, every cascade of juxtaposing violence and trance, as on the title track, for example, and every element of the sound is purely intentional and calculated, thought out enough to prevent stagnance or repeating used up concepts, and I'm constantly impressed by the attention to detail and quality Inquisition give their work not only in composition but in texture and tone.  The minimal use of movie samples through out the album are well placed, aiding the creeping atmosphere of a slow, hypnotic passage, or announcing a terrifying theme of Satanic might. 

As a final remark, I must emphasize the greatness of the artwork on this album. If I were to begin evaluating the visual presentation of albums (it's an important dimension of the work, anyway), this album would get a 10/10. Absolutely excellent artwork and overall appearance. Look at that fucking cover. Open up that booklet and look at even more of it. Check out the background for the lyrics. Fucking sexy. 

9.2/10