Poland has long been a breeding ground for quality death metal, bands like Decapitated, Vader and Behemoth, who are among the biggest names out there, and granted a lot of bands doing what these bands are known for. But there’s still interesting stuff to be found in the underground. Like Kult Mogil.
Released on the very credible Pagan Records, ‘Anxiety Never Descending’ is the debut full-length of Kult Mogil. Released on CD, Christmas eve 2015, with vinyl and, (so all you trve kvlt fvcks can play this on your shitty cassette deck to get that raw, authentic sound) cassette coming in 2016.
The band themselves explain the translation, or meaning of the bands name as “cult of graves”, and graves, cemeteries, death, damnation, depravity are all accurate descriptions of the overall atmosphere here. My initial thoughts were that they sounded like a more palatable version of Portal, but as I descended deeper into the deranged netherworld of their experimental blackened death metal I found out that this is a beast of its own.
The guitar churns out dis-harmonic riffs over a rather chaotic rhythm section and it sounds quite messy at first, but after a while one can hear the intricacy and technicality of their playing abilities. But Kult Mogil also know how to take a breath and use space in their songs, from the opening blasts of the title track, they show their obvious technical abilities, but a couple of minutes in they take it down some notches. Slow grooves accompanied by a fitting use of feedback and some simple guitar picking creates a deranged feel before descending into the furious madness of the beginning.
While the middle of the album can be a bit overshadowed by the triumphant start, the last two tracks stand out as personal favourites. ‘The Width of a Forehead’ comes creeping in with its two-minute dissonant, drone-like guitar intro that gradually evolves into a sonic gateway to the depths of darkness, and then moving on to the very powerful ‘Palliative Messiah’, which after a 5 minute build-up explodes into Slayer-like solo and ends the album abruptly with the phrase “singing the hymn to death”. Joyful is the keyword here lyrically.
Throughout the album they apply the recipe of fast-slow, slow-fast widely and it can be a bit repetitive as the rugged guitar sound can make it hard to make out the riffs at times, but overall this debut shows a band worthy of attention from fans of both old-school and new.