I think one of my first acquaintances with Lower Silesian Stronghold must have been when I bought Nekriki Mistagogia, a mini-CD by Greek project Aasgard. Shortly after that release, frontman Aethyr started working on what would become the second full length, being Morbid Celestial Desecration. The material was eventually released on vinyl in 2012 via Unmerciful Death Productions. Now it gets re-released on CD via Ukraine’s Vacula Productions in collaboration with young German label Wolfmond Production (which I hope to hear more from soon!).
With assistance of drummer Marrok, Aethyr recorded this album at his home studio (Aasgard Studio), and the result lasts for thirty eight minutes. Morbid Celestial Desecration opens with Beliefs Of Natives Gods, and seen this title, as well as the band’s name, the link towards Nordic Paganism is only a small step away. Indeed, this opening song immediately shows what Aasgard stand for: grim, fast-paced, minimal, melodic, merciless and raw Black Metal from the Old School. The primal structures are based on extremely rough-edged, blasting melodies, leaving no room for compromise, and spawning hate and venom. Listen to those sulfur vocals, for example, and you’ll understand. Besides, the ‘melodies’ are firmly rooted in the tradition of the Old Gods, trespassing the glorious times of Nordic supremacy, yet delving deeper into the essence that uncolored the worldwide scene two decades ago. But then again, when injecting such grim terror-assaults with fabulous acoustic beauty, paying tribute to worthy German, Finnish, Polish or Norwegian bands from the Second Wave, and at the same time making some inferior ones just look like wimps… And then again, with an outro like Infernal Virtues, no one can resist dreaming away, having your thoughts been carried away into foggy spheres of totally misanthropic nihilism – damn I like that attitude…
Of course the essential basics remained the same, but with Morbid Celestial Desecration seem to explore more obscure and asphyxiating dimensions than before. The epic melody lines are a returning constant, but it is not the production only that darkens this experience even more than before. It’s an overall feeling that I have, each time again when I am enjoying this album. And that easily brings me to the production: something to be discussed. It is totally anti-trendy and unclean, miles away from any modern standard. It will repel some, it will attract others, but let’s face it: the middle ground would be: little more upgraded, yet maintaining the rawness and ugliness, that would have been top.
Old Gorgoroth, Carpathian Forest, Agatus, Darkthrone, very early Samael (especially within slower pieces, such as When Everything Is Collapsing), Graveland, Bathory, Hellhammer and the likes, but then again somewhat raped the Greek way, that might be a nice conclusion, not?...