Holocaustic Death March to Humanity's Doom

Considering the abundance of touch-and-go splits or 'alliances' in war metal, it's almost surprising that these bands have not collaborated before on something. Though I'd hesitate to say any one band or album has assumed a sphere of influence comparable to Fallen Angel of Doom some decades ago, it goes without saying that Revenge and Black Witchery are two of the most enduring names in the house that Blasphemy built. Black Witchery's Hellstorm of Evil Vengeance split with Revenge's predecessor Conqueror in 2000 still stands among the best the genre has to offer. It is needless to say that, in spite of the fact that the title doesn't exactly roll off one's tongue, Holocaustic Death March to Humanity's Doom is set to be a pretty big deal in relevant circles. Expectations were accordingly high.

However, unlike Hellstorm of Evil Vengeance which saw fit to deliver a full-bodied experience of either band, Holocaustic Death March to Humanity's Doom is frustratingly short on material. Regardless of the initial feeling that the nineteen minutes of music disappoints in the face of the split's anticipation, there's still enough here for newcomers and veterans alike to get a strong impression of where each band is at in their sound.

To my ears, it's the Black Witchery side that stands head and shoulders above its counterpart. They have never tread far from the Blasphemy archetype, but the band's years of experience are clear in their confident grip of atmosphere. I never thought I'd say this about something from Black Witchery, but the three songs' production is fantastic. The drums, guitars and vocal conjurations are each and all clear to the ear, and at no cost to their lo-fi impression of filth and decay. Black Witchery's predictably low-fretted and tritonic riff patterns have never manifested memorable or distinctive songwriting, but through the ferocity and brevity of the triad of offerings here, I'm left hungering for more. Black Witchery's mandatory ambient intro here is one of the best they've ever done, and though HDMtHD does not offer nor attempt anything the band aren't already familiar with, this is some of the best Black Witchery have ever sounded. A pity that there isn't more of it to sink one's teeth into.

On the other side... I've never personally understood the appeal behind Revenge. Considering their labelship with Season of Mist and recent tour with the likes of Mayhem and Watain, it's arguable they're the most exposed and currently successful in the war metal scene-- and why? To me, it sounds like they've been beating the War.Cult.Supremacy horse until the cheval is naught but a pile of battered meat and gelatin. Revenge's contribution to the split hasn't helped to sway my ambivalence towards them; my interest was piqued when I saw the nine minute track length, but "Humanity Noosed" feels like a familiar go-around of ingredients they have used again and again and again. I swear I've heard that same fucking guitar shred solo a hundred times in Revenge's work, and while it might be said that James Read's incessant bark is a fair bit more distinctive than the usual war metal vocals, the monotonous effect wears off quickly. I can't shake the feeling whenever I'm listening to Revenge that I'm listening to someone who just stepped on a thumbtack. I feel plenty of atmosphere whenever I put on Conqueror, but by this point in Revenge's career, I have a pretty difficult time feeling excited by anything they're doing.

To Revenge's credit, the drums sound thunderous and appropriately chaotic. The split does also throw a curveball in the form of Revenge's cover of "Equimanthorn". On top of being one of my favourite early Bathory tracks, the song has an immortally evil riff. Compared to their typically buzzy, bass-heavy and forgettably amorphous guitar ideas, "Equimanthorn" injects some memorable composition in with their own trademarked aggression. As a result, the best merits of Revenge's contribution aren't of their own design, but it's always refreshing to hear a band reinterpret such a legendary song.

Holocaustic Death March to Humanity's Doom is both worthwhile and disappointing. There is merit to both halves, and even in the case of Revenge, their faithfully refurbished rendition of "Equimanthorn" is worthy of respect. But even (nay-- especially) had I been as into one band as much as the other, the split seems to fall short of its potential. Short of the Ross Bay cultists themselves conjuring up a follow-up to Gods of War, a collaboration between a pair of such highly regarded outfits should have been cause for alarm. My expectations have been met for both sides, but-- alas, I wouldn't say the split warrants essential listening from fans of either act.

Originally written for Heathen Harvest Periodical