Year of release: 2019
Label: Heidens Hart Records
Rating: 8 / 10
This review will be more a collection of thoughts about post-soviet realities rather than a review of the album, so be prepared. Despite my contradictory attitude towards BLACKDEATH, I believe that Russia is very fortunate to have such a band. The influence of the Popov brothers on the local underground is immeasurable; many bands and listeners were uplifted thanks to their activities. And even a sin in the form of hobby for Eurasianism in a certain period (this is one of the main reasons for my difficult relationship with BLACKDEATH, but fuck it) does not detract from their merits. BLACKDEATH group itself, as well as its previous incarnations, was and remains the bearer of genuine Black Metal.
With all this, it's sad, ridiculous and quite expected that the popularity of BLACKDEATH behind the borders is several times higher than in the CIS. The Western metal community can and must be reproached for softness, but among the “moderate” layer of listeners there are still much more fanatics who treat Black Metal with respect. Russian shitheads from garbage dump sites like Dark World see BLACKDEATH almost as their natural enemies (“how dare they say that Black Metal is serious!”), and in Belarus, in general, noone gives a damn except some sick satanists from Baranovichi city (I say it with deep respect to the latter). It is not surprising that the group skates around the world most of the time, playing on the same stage with such big names as ARCHGOAT, while he parochial style connoisseurs and genre development experts continue to knead clay shit with their boots, playing at some hilarious local festivals 1-2 times per year.
The reason of this hostility towards BLACKDEATH in the CIS can also be explained by the fact that their music has always corresponded to the concepts. It seems that the average local listener is not ready to grasp the idea that music does not have to be fanciful simply because it is supposedly cool. Should music go hand in hand with an idea embedded in it? o, this is some kind of nonsense, give us the songs for the self-made collection of “100 golden hits of blekk metall" which we will write on a flash drive and listen in the car on the road to work. BLACKDEATH got nothing to say to such listeners; their Black Metal is canonical. You can’t call it really filthy but it is also very unfriendly. The band is not trying to make songs - to a certain extent, this is really a problem, because it is difficult to preserve at least some concrete memories about the music, listening to their album. On the other hand, the ability of BLACKDEATH to follow the spirit and style of the genre is perfected. A good half of the new record is based on primitive riffs a la “Under a Funeral Moon”, but how it all is performed! Do not say that you were not warned; on the album BLACKDEATH act the same way as at concerts - they charge a stream of pure Black Metal, one song after another, swiftly and violently, without any “hey, let’s go!” and “I want to see hellish mosh”. The strange composition “Gott ist mein Hass”, equally reminiscent of INQUISITION and the groove metal of the early 2000s, only emphasizes the main feature of the other songs, which I have already repeatedly described using the above reasoning: “Phantasmhassgorie” (as well as other works of BLACKDEATH ) does not try to either entertain you, or scare / disgust you. This is a self-sufficient Black Metal, generally not guided by anyone or anything except personal creative needs. It must be comprehended in its entirety, with texts and a booklet (design from Maya, as always, amazing), or pass by. In any case, BLACKDEATH hardly needs anyone’s approval or criticism.
The album is rated on the basis of an inferior comprehension of the promotional material provided, therefore it is largely random and meaningless.
English (UK) 
Крыўская