Originally written by Jason Jordan.
If you’re like me – and of course you want to be – then you vomit upon hearing most of what passes for black metal today. Naturally there are exceptions such as Drudkh, Deathspell Omega, and Summoning, but on the whole, the BM being churned out these days is quite lacking when compared to the vibrancy deployed in the efforts of the early to mid-nineties. At any rate, Black Crucifixion caught the second wave, forming in 1991, and subsequently released the bulk of their material by 1993. For those aroused by a different approach to an oft-botched subgenre, The Fallen One of Flames is a disc that should be looked in to. Don’t just look at it, though. Listen to it as well.
The claim-to-fame, of this recording anyway, is that the duo summoned Holocausto Vengeance and Sodomatic Slaughter of the ever-changing, long-defunct Beherit to share some of the dirty work. The former was solicited to forge both an intro and an outro, which prove to be unsettling, and in turn heighten the ambience and overall mood of these eighteen minutes. The inaugural piece is “Flowing Downwards,” and this disc is basically a re-release of their 1992 demo by the same name. Speaking of the music, however, the simplistic instrumentation is deftly intertwined with keyboards. The symphonic passages aren’t subtle, but they do provide accentuation without being overbearing at the same time. The trance-friendly riffs are simple, as said earlier, though they’re every bit as arresting as one could hope, and needless to say, the drumming matches the minimalism employed throughout the disc. Perhaps the most innovative trait that Black Crucifixion have to offer is Fornicator’s whispering, because it serves as the vocal style. I don’t know about you, but I consider that to be truly surprising, especially when one considers the band’s peers. Still, despite the innate songwriting skills, adequate musicianship, and conspicuous strengths, the quality of “Flowing Downwards,” “Master Spirit,” and “Goddess of Doom” isn’t necessarily top-notch. The production is somewhat disconcerting. “Flowing Downwards” starts shakily, due to the music cutting in and out, as a result of technical shortcomings; thankfully, the problems are addressed and the production values rarely detract from the experience. Nevertheless, this isn’t unsavory by any means, plus one must also realize that this isn’t Cradle of Filth we’re dealing with here.
I’m not sure as to what wave we’re surfing – fifth? – but it seems like the black metal ship should’ve hit land by now. Either way, Black Crucifixion gives both the diehard fanatic and the casual observer a glimpse into what it was like when the BM scene was cutthroat, and overflowing with vicious, inspired musicians. If you feel you can stomach the occasional specks of gristle, and have been wandering the land in search of competent, well-written metal of this style, then The Fallen One of Flames is probably worth tracking down. Don’t just track it down, though. Listen to it as well.
