Plague Hymns

California-based duo Sarcoptes was one of the biggest surprises of 2016 with its impressive debut entitled 'Songs and Dances of Death'. This debut came after some years of existence where the project only released an EP called 'Thanatos'. It took a decade, but this duo was able of releasing a collection of songs with a remarkable quality. Personally, I have never been a great fan of thrash influenced by black metal, but this project combined both genres with an indisputable inspiration, creating songs which were a truly riff fest. Furthermore, they introduced some symphonic influences, which never overshadowed the metal side of the music but complementing it, giving an epic touch to its compositions. All these ingredients where the perfect match to release which was an acclaimed debut.

As it has happened earlier in its career, Sarcoptes has taken its time to compose new songs in order to take the necessary time to compose new songs with the highest standards of quality. The result of this work is a new EP, which should serve as a presentation of a very awaited sophomore album. 'Plague Hymns' is the name of the new beast and it comes with two new songs. Firstly, the production seems to have made a step forward in terms of strength in every single aspect, but more importantly with the drums, which sound more consistent in terms production. All the other aspects like vocals and riffs sound as powerful and clean as expected, but step forwarded as well in terms of quality and strength. In contrast to the debut, I would say that guitars and drums are slightly more prominent than the keys this time, but thankfully not shallowing them completely, something I had initially feared. I love more prominent atmospheric arrangements, but this balance is also objectively satisfying. Regarding the compositions, the fusion between black and thrash metal riffs is still there, being merged once again in a very tasteful and inspired way. The initial song "The Vertigo Soul" sounds as fast and brutal as the heaviest songs of the debut album, but it still maintains the richness in terms of pace variation and the range of riffs, which are more melodic or more extreme when it is needed. No one can deny that these two guys know how to compose extreme metal songs based on a top-notch guitar work and ferocious drums. Garret’s vocals are also excellent this time with his raspy tone fitting the music very well. On the other hand, Sean’s work with the keys and symphonic arrangements (as well as for the guitars) is excellent, with maybe a slightly bigger range of sounds and influences. This is good because this work to find a greater variety in the atmospheric arrangements is a key factor to improve the overall sound of the band. The second song, "La Moria Grandissima", follows the same basic patterns of the EP opener, but thanks to its longer length it has a greater room to introduce a more epic tone which sounds simply wonderful. Sarcoptes has indeed shown that it knows how to create long and epic songs yet keeping a great balance between fury and grandeur.

'Plague Hymns' is undoubtedly an excellent EP and maintains Sarcoptes as one of the most exciting new bands of the extreme scene. I can't wait to listen to their second album, because if they can, at least, maintain the same level of quality, it will be a masterpiece.

Originally written for "www.thepitofthedamned.blogspot.com."

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/