The Goat of Mendes

At the turn of the century, Akercocke's satanic perversions and black-death elegance turned out to be very original and extravagant in the context of the extreme music from the UK, and the band quickly began to enjoy considerable popularity. Jason Mendonça's group perfectly filled the gap when the local scene was barely dying out (or some of these bands were drifting deep underground - such cases also happened), they had an idea for themselves and very efficiently created their own and - as time quickly verified - very characterful music. You didn't have to look far for confirmation in Akercocke's early releases, because their second lp, entitled "The Goat Of Mendes", brought a very high leap in quality, and was released only two years after the first one, and by a much larger label - Peaceville Records.

Stylistic changes compared to "Rape Of The Bastard Nazarene" are not so many that they change the group's style beyond recognition, but it's impossible not to notice that this album is the first in their discography, which brings such a clear step towards their sought-after prog-death-black. Quality and production progress is one thing, but much more progressive song structures are another, equally important. Let's start with the production, because that's what catches the ear first. Compared to the debut, the guitars have become noticeably clearer (although they do not lack heaviness or black metal roughness), the drums have a more triggered sound (but without exaggeration), and the bass is more audible. In terms of sound, you can feel a much greater, professional point of view, by which no detail is allowed to escape - which could still happen in the case of their first album.

In practical terms of music, there is also a lot of to admire. The songs have become significantly longer, more technical, contain bolder keyboard/industrial elements, are better vocally differentiated (especially between the lighter one and the less so one) and have more twists. In the case of Akercocke, however, it fits perfectly, because their music has not lost its original brutality and madness. It's true that the grind influences are gone, but in their place are surprisingly aggressive and chaotic fragments, which are even more interesting because they have nothing to do with the previous grind monotony. Besides, where the blasting come at breakneck speed and then a calmer motif appears, you can best hear how the quintet has improved in terms of technique over the last two years - these transitions come out very smoothly for Akercocke. You can hear it best in "Ceremony Of Nine Angels", "Horns Of Baphomet", "He Is Risen", "Of Menstrual Blood And Semen" and "A Skin For Dancing In". The only thing that can be faulted in "The Goat Of Mendes" are - similarly to the debut - too many interludes, because they do not create the same atmosphere as the main material. Fortunately, this is the only flaw here.

Akercocke's second lp proves that Jason Mendonça's band was not a temporary, debut surprise, but behind it was a broader, extremely original vision of playing extreme music. It was with "The Goat Of Mendes" that the most busy and crazy period of composing began for Akercocke, and at the same time the most qualitative one, which allowed the band to reach wider areas.

Originally on A bit of subjectivism...in metal