Satan Alpha Omega

Although Deiphago’s first full length “Satanik Eon” dropped in 2006, they have been around in some form since the early nineties. The colder parts of Europe often get the rep for ‘innovating’ the black metal sound, yet the style spent its youth on the better part of four continents. This global birth was perhaps most evident in the ‘bestial’ variety of black metal, in which Asia played a significant role. Dominated by noise and lo-fi sonic chaos, there is the sense in “Satan Alpha Omega” that Deiphago have not evolved their mindset since the early days of this sound. For better or worse, Deiphago deliver a raw half-hour of war metal that makes no considerations to modern trends and innovations. Anyone looking for an album with a hint of subtlety or moderation should turn around and head far away; “Satan Alpha Omega” offers none of the sort.

Although a band like the Singaporeans in Impiety have audibly matured and refined their sound, Deiphago’s latest sounds like it could have been recorded in the mid-nineties. Black metal is the central element here, but sounds of thrash and death metal are evident as well. Although a rough production is generally a staple of black metal, Deiphago production sounds little better than demo standard for the most part. Recently added drummer Savnok’s busy performance comes across as fierce, and Voltaire 666’s vocals are audible enough in the mix. Where “Satan Alpha Omega”s recording feels most primitive- and where I think most listeners will find their biggest gripe- is in the way the guitars have been produced. Although some decent riffs can be discerned from “Heretic Oath” and the ritualistic title track, most everything guitar-related in “Satan Alpha Omega” comes off as a wave of harsh noise. It’s as if they were playing loud enough for the speakers to blow, then recorded the effect from the next room over. Depending on where you’re coming from as a listener, this can be a total deal breaker, or a real compliment to the band’s intensity. I’m ultimately left feeling mixed and agreeing somewhat with both sides. There’s no doubt that Deiphago’s energy is all-consuming here, but when it’s difficult to make out much save for an omnipresent blastbeat and garbled screaming, it would be a hard sell to call this an album that grows with each listen. True to the album title, Satanic imagery pervades “Satan Alpha Omega”, and though this could have brought the band dangerously close to the realm of cliché, the unrelenting aggression gets across a sense of hateful sincerity.

For the most part, “Satan Alpha Omega” is a trip through hell that offers two or three listens before the shock value peters out. The most notable exception to this is the “Outro”. Considering it takes up nearly a quarter of the album’s playing length, it’s certainly more than a tack-on. Although Deiphago’s take on war metal generally leaves me feeling underwhelmed, “Outro” is a sprawling piece of dark ambiance that brings a haunting atmosphere that truly feels like the listener has finally reached the pit of hell. Caught somewhere between harsh electronics and rhythmic industrial music, it gradually builds into something diabolical. It’s a fitting denouement for such an abrasive album, and it’s a shame that the rest of “Satan Alpha Omega” does not convey the same hellish atmosphere. Ultimately, Deiphago’s latest passes me as an album that seeks to relive the glory of the war metal classics. However, unlike Blasphemy’s “Fallen Angel of Doom”, the shock value is quick to wear off. It’s worth the ride at first, but war black metal has had darker days than this.