(Yesterday we presented Daniel Barkasi‘s interview of Texas-based Gost, and today we deliver his review of Gost‘s new album Prophecy on the day of its release by Metal Blade Records.)
The connection between metal and electronic music is an alluring one; both have existed side-by-side for decades. There’s always been some similarities in the aesthetic and structure of specific forms of each. One of the latest phenomena is the synthwave genre, and more specifically for this review, it’s where a sub-genre known as darksynth emerged. A caustic and menacing method of synth music, many have been gripped by its extremely heavy sounds and dark themes.
One of the most heralded innovators of that style is Gost, who has carved a large following through the last 11 years, never producing the same album twice. Early works centered around more Satanic subjects and vigorous sounds, while more recent albums such as Rights of Love and Reverence portray more on the personal side with gothic/industrial conventions. New album Prophecy is a merging of both subjects and nearly all sonic inclinations of Gost’s career, resulting in a familiar-yet-fresh album that continues to position the project further into its own air.
While Gost’s peers such as Perturbator and Carpenter Brut have constantly evolved, so has the venerable Texas producer. Prophecy is emphatically heavy and instantly catchy, overflowing with ideas and keen attention to detail. Lead single and title track “Prophecy” erupts with an infectious beat amongst thick, staticy synths that flood every crevice of aural space. Bells toll away as the track progresses deeper and darker, never losing its pulsating vitality.
This fervent incursion could have come right off of Non Paradisi. It sets the proverbial table, too, as it’s incredibly easy to become immediately intrigued by what is yet to come. “Death in Bloom” follows, featuring a stripped-down, gritty ensemble of distorted guitars and screams, while maintaining a groove that is impossible to ignore. A deft touch of gothic influence within the clean vocal passages adds dynamism, to boot.
Gost has always had a soundtrack quality to many of his songs – he did compose the soundtrack for The Texorcist video game after all – and Prophecy is flush with opulent examples. The energetic and lush “Deceiver” is a prime candidate for a yet to be made horror flick, while the foreboding “Temple of Tears” creeps within the shadowy recesses of one’s mind with an increasingly menacing tone. Those yearning for more of gothic tinges need look no further than the quick-hitting “Decadent Decay,” which leads into the the standout enormity of “Widow Song.” This number includes Lollar’s deep, rumbling Peter Steele-ish cleans, simultaneously stacked with doom-like moments and black metal ferocity.
The general overtones of Prophecy are immeasurably heavy. This is no chillwave album or a jaunt with neon-soaked nostalgia, though those artists provide beautiful doses of genuine emotion. Gost instead punishes with fervor. “Digital Death” and “Through the Water” exemplify this poignantly via chaotically violent assaults of layered bass-filled synths and crunchy guitars respectively. Hell, you want a super danceable tune? “Shelter” has got that covered and then some.
Gost wraps up his latest with “Leviathan”, bringing a further cinematic scope amongst a wide array of synth sounds. Heavy on horror and melody, while somehow attaining a brisk pace that’s also measured at the same moment.
Altogether, that’s really what Prophecy does so masterfully – it brings so many elements together all at once, but in a cohesive and intoxicating fashion that very few manage to accomplish with so much magnificent chaos. Gost provides both synth and metal purists a focal point to indulge upon with hellish glee. Prophecy will no doubt go down as a stylistic staple, an example of how to make immense music of infinite flavors that pulverizes all fortunate enough to be in its wake. All hail Baalberith, indeed.
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