Plague Hymns

Perhaps in a bid to make their band as diminutive as possible, the 2 members of Sarcoptes have chosen to name their project after a genus of mite and release brief EPs at generously spaced intervals. From another angle, the infiltration of sarcoptes mites (which cause scabies) is usually quite subtle, but pronounced in effect. Therefore, although both Thanatos from 2013 and new release Plague Hymns only contain a pair of songs each, the California duo make themselves felt right away. Continuing with their rather successful theme of medieval pestilence and terror, Plague Hymns certainly arrives at a fitting time, with half the world remaining under the thrall of coronavirus.

Channelling some of the same bilious attack as 2016 debut full-length Songs and Dances of Death, the new material also maintains the sense of melody and grandeur that was utilized to make 'The Sexton’s Spade' and its like bitter threnodies in the precincts of Dissection and Cradle of Filth. The former bandname explains how Sean Zimmerman’s guitars leap forward in quite melodic style at times, rarely getting bogged down in either sluggish depths or particularly blackened scales, while the latter manifests itself quite clearly in some of the melodies, the drumming, and particularly the keyboards. Take the earlier part of 'The Vertigo Soul', which thrums with primal energy filtered through a surprisingly tolerable production; Garrett Garvey sounds simultaneously like Nick Barker on drums and Dani Filth on vocals without ripping off either or highlighting the gothic side of their shared project, tumbling round thrashy beats before the inevitable blasting comes to the fore, all the while roaring (but not shrieking) in that special Filth-y timbre. Epic keys come and go, only to return full force as 'La Moria Grandissima' kicks off with organ atop more stormy riffage.

In essence, Sarcoptes have become even more adept at putting their tableaus of decrepitude on a suitably grand stage. Not that Songs and Dances of Death didn’t have long songs (the 13 minutes of 'Barbarossa' require your urgent attention), but 'La Moria Grandissima' stretching out to almost 11 minutes happens surprisingly naturally, familiar sections flashing past at quite a lick for most of the time to keep the song accessible yet unquestionably extreme. The slower sections especially prove memorable, both the organ-backed licks that form a kind of refrain and the swelling lead section late on in the composition that imbues otherwise rather aggressive music with an emotional quality. Of the 2 songs, the longer closing cut slightly edges out 'The Vertigo Soul', although similar features contribute to a singularly memorable EP of high quality melodic black metal. Now with the stronger label backing of Transcending Obscurity, Sarcoptes may be able to string a few releases together and become a less reclusive species of band.


Originally written for The Metal Observer - http://www.metal-observer.com/3.o/review/sarcoptes-plague-hymns/