Spectral Wound – Songs Of Blood And Mire Review

Unfortunately, I’ve yet to have the privilege of visiting Canada. However, once I trek across the border, I expect to be bombarded with friendliness and hockey and drenched in maple syrup. Look, I dig Canada. I’ve been told it’s a beautiful country. However, I need to become more familiar with Canadian lore. But I do appreciate the Hart family legacy. Never would I howl mockery at the country that gave us the legend, Bret “The Hitman” Hart. No way. Nor would I howl mockery at the nation that blessed us with Geddy Lee, Alex Lifeson, and Neil Peart. Of course, I’d be rightfully crucified if I didn’t mention someone like, oh, maybe, Luc freakin’ Lemay!

Canada’s extreme music scene has gifted the world some of the most visceral and violent acts over the years—Blasphemy, Necronomicon, Monarque, and early Cryptopsy. They’re revolting yet cathartic, like peeling the scab from a healing wound.

Today, Montreal, Quebec’s Spectral Wound carries the tradition of underground Canadian ferocity in both anger and catharsis. They’re a stone-cold black metal band. From their rawer beginnings on Terra Nullius, the more melodic Infernal Decadence, and the arctic-cold monstrosity known as A Diabolic Thirst, Spectral Wound have cemented themselves as significant players in the modern black metal scene. There’s a reason “Frigid and Spellbound” has been consumed more than one million times on streaming platforms. The band has a knack for constructing some catchy, melodic riffs below the shrieking, throat-slicing vocals.

The Quebecois have returned after three years with their latest full-length, Songs of Blood and Mire. As an avid listener of the band and an advocate for their prior releases, I walked into this record with the highest of hopes. I was expecting the earworm melodies and the brute force built upon layers of sonic chaos, lathered in teachings of the occult, of course—I wasn’t disappointed. If you checked out Infernal Decadence and A Diabolic Thirst and enjoyed them, I’m confident you’ll love LP number four.

Without sounding too cliché, it’s a continuation of those records, but something much more extraordinary is brewing beneath the surface here. And that was evident from the first single drop, “Aristocratic Suicidal Black Metal,” which has an anthemic, hooky, almost-punk main riff. Much like the aforementioned “Frigid and Spellbound” did on A Diabolic Thirst, “Aristocratic…” will undoubtedly be a track attached to Spectral Wound for the remainder of their careers. However, you could say that about a few songs on Songs of Blood and Mire. Perhaps some moments remind me of Misþyrming’s Algleymi. While melodic, Spectral Wound mimics the Icelandic group’s ability to capture melancholy on songs like “At Wine-Dark Midnight in Mouldering Halls.” Illusory’s drumming leads the way, fluctuating between blazing blast beats and more rhythmic playing. While Patrick and A.A.’s guitar work and Jonah’s vocals will garner their much-deserved attention, Illusory truly stands out as the purveyor of the song’s ice-covered atmosphere.

Regarding the atmosphere, Spectral Wound has always had some similarities to early Finnish black metal bands, precisely the sepulchral, haunting aura. Ironically, this is the most well-produced Spectral Wound album to date. While that may not pique the interest of every black metal aficionado, it gives Songs of Blood and Mire the grandiose treatment it deserves. And the songs are so well-written, it would be a shame if you could not experience the subtle intricacies the album presents. On “Fevers and Suffering,“ each member shines and cuts through the mix for one hell of an intro. The song’s first half features some of my favorite riffing on the record, but you can also hear and feel the rhythm section. These coatings are also featured in songs like “The Horn Marauding,“ which are essential to the dark glow of a band enamored with the esoteric.  But while these vibes are most certainly sinister, some moments sound—dare I say—hopeful. And while I say that in jest, maybe Spectral Wound is just so great at this black metal thing that they’ve perfected interweaving dualities of emotion. Around the halfway point on “Less and Less Human, O Savage Spirit,” a tremolo-picked riff sticks out like a compound fracture. Momentarily, there’s a sense of optimism. You’ll know which one I’m talking about. But then again, the closer, “Twelve Moons in Hell,” is more mournful, especially as it slowly exhales with a grieving, folky acoustic ending.

So, what’s the final verdict on Songs of Blood and Mire? Point, blank, period: The Canadian black metal outfit has crafted its largest sounding and best record. Backed by sounds heavier than a necromancer’s library, stacked floor to ceiling with cursed tomes bound in iron, and colder than a spirit’s whisper in a haunted crypt, Spectral Wound has made it clear: they’re here to stay.