In the Sign of the Five Angles

I am sure that bands like Metallica have at their disposal considerable funds to be spent on marketing of quite annoying recordings like “Hardwired….to Self-Destruct”. Stygian Temple probably used a nano fraction of that budget to produce 500 copies of “In the Sign of the Five Angels”. What has been the better investment? And what have the pioneers of thrash metal to do with an unknown German black metal band? Before I answer the first question, let me start with the second. Metallica and Stygian Temple both play a form of metal (I know, I know. This is a finding of nearly epic proportions!). More importantly they both understand some basic principles: success is being defined whether their followers buy into their endeavors to pen outstanding songs, shit on common conventions, be authentic and infectious with their enthusiasm and spirit they emanate. Where the former mostly started to fail, Stygian Temple chose to surprise and impress.

Cold, atmospheric black metal is the pure essence of “In the Sign of the Five Angels”. The guitarist has obviously been to a Swedish school some when, though influences of other German compatriots like Eternity, Darkmoon Warrior or Luror cannot be negated. The vocals are a story worth to be told, too. I would describe them as less “Nordic” and more in the vein of the German black metal underground bands like Vidargängr or Ascension. You will find not much of “typical” black metal shrieking, vocal chords destroying or nagging articulation. They come across deeper, darker and more menacing. On “Cathartic Nimbus”, the first of many highlights, the guy behind the microphone pays homage to Mikko Aspa (Deathspell Omega). The way he squeezes out the evil incantations like through lips sewn shut sends a shiver down my spine. The rest of the band does an outstanding job to push him to his limits. Relentless blast beats and buzzing melodic riffs are a feast for the ears.

The next apex is reached with “The Great Cosmic Void” which serves according to the band as a tribute to Mayhem´s DMDS. Tribute less in terms of a simple musical copy but rather in terms of the spirit of darkness being transported. Stygian Temple try hard and successfully not to be a simple copycat in a genre, limited by its own narrow borders. Though I was convinced when first listening to the opening riff of “Dominion Of The Trident” that the first half minute of “Revival” (Grief of Emerald) has found its way on the CD. But be it as it may, there is worse ways to close an album.

Notwithstanding that it did cost me a fortune to acquire “In the Sign of the Five Angels” (I paid more money for airmailing out of the US than for the CD itself….), I can answer the first question in favor of the underdog: return on invested capital is definitely a lot higher for the here reviewed opus than for the (maybe ill-chosen) comparables. Stygian Temple show how fervor, authenticity and dedication can compensate for financial disadvantages. I do not know what they had to provide as compensation, but they definitely did not sacrifice on the production quality. Thumbs up, cross down!