Having recently appeared on a split EP with Deep Desolation and Iugulatus, it was Primal who emerged from that not-insignificant company as being the greatest surprise. For while the two former bands had already released quite excellent albums, Primal were an unknown quantity and their contribution to the record proved to be quite indispensable – powerful, atmospheric and with a hint of rock ‘n’ roll abandon that marks the band out as something very special indeed.
‘Deathzone’, then, is the Primal’s debut full length release and it most certainly does not disappoint with its powerful, raw and endlessly inventive take on black metal. Opening with the briefest of atmospheric scene-setters, ‘Angel’s hatred’ rapidly expands upon the opening synths to include a furious and icy guitar assault that perfectly captures the feel of Poland’s desolate and open landscape in the deepest grip of winter. Like a windswept plane, the music washes over you, the guitars and percussion like an ice-storm abrading everything in their path and sweeping away any vestiges of humanity from the plateau, while the vocals seep out form the centre of the maelstrom, only barely audible and yet filed with an air of menace that is unmistakable . ‘Wrath of the God’ develops Primal’s sound with a monotonous drone riff reminiscent of latter day Swans before Primal One’s ravaged vocals fill the air with a sense of decay and putrescence. It is a brilliant track with a heavy, churning, central riff that surges over the listener thanks to the excellent production job, not to mention an achingly fluid solo from Markiz whose work on this album is no less inspirational than his work with Iugulatus and Deep Desolation. The title track is up next and it is a storming, intelligent journey into Primal’s very own heart of darkness. Harrowing and multifaceted, the riffs mutate and multiply, never lessening in ferocity but still successfully conveying different moods and atmospheres. As the track progresses so it becomes increasingly heavy until, around the five minute mark, you come up against a riff of such stunning ferocity that you feel sure Primal couldn’t possibly top it. An instant highlight of the album, it is a remarkable piece of black metal composition that marks Primal out as a very special act indeed and one that fans of the genre are duty-bound to check out.
Track 4 is left untitled, which seems apt as it serves as little more than a segue to the next churning riff – a brutally unhinged and arty riff in the form of ‘book of revelation’ which initially proves hard to pin down until a massive thrashing riff scythes through the disconcerting noise around a minute into the track and draws you ever deeper into the realm of ‘deathzone’.’The prophecy’ is a swamp of indistinct voices, emerging from the depths and then sinking back into obscurity once more before finally disintegrating altogether leaving us to forge on, unnerved, into the territory of ‘liars’ – a giant, hulking brute of a track that leers lasciviously at you from out of the darkness, its forked tongue licking serrated lips while the guitars slither and slide around you, cocooning you in slimy warmth. Final track, ‘son of the morning’ is a slow burning gem that closes the album on a reflective note, although with none of the fire and fury of the previous tracks diminished, particularly when, at around the seven minute mark, a riff of such power is spewed forth that it destroys al in its path.
‘Deathzone’ is simply a great black metal album. Perfectly recorded and with suitably grainy black and white artwork created by Primal one, it is a record that you will want to live with for some time just getting to grips with the multiple layers in evidence. Like Deep Desolation and Iugulatus, Primal focus on invention rather than emulation and the result is a raw, passionate and powerful performance that will appeal greatly to fans of black metal at its most extreme and elemental.
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