The Great Old Ones
EOD: A Tale of Dark Legacy
(Season of Mist)
There’s something about established black metal bands who sign with Season of Mist. Groups like Emptiness, Obsidian Kingdom, and Barishi all released excellent first impressions through the label, but they all showed off previously unexpected sides of the band, as if the move to Season of Mist triggered a desire for a sonic shift or at least emboldened the bands into new territories. That’s where we find ourselves with The Great Old Ones, who, not surprisingly, take a Lovecraftian influence rather seriously (H.P. Lovecraft is actually in their band promos).
As would make sense for a band trying to embrace a cosmic horror feel, this French group married the ritualistic fury of second-wave black metal with a creeping dose of sludge-and-doom-soaked post-metal madness. The atmosphere and tightly-plotted albums were based on Lovecraft’s tales, and The Great Old Ones’ sound was reminiscent of the much-missed Altar of Plagues, while still employing their own take on post-black metal. So many groups have tried the Lovecraftian thing that it’s become a bit like the steak you forgot was on the grill (overdone). However, considering the silliness of the grim and kvlt black metal scene and bands who take themselves way too seriously, it’s actually quite nice to appreciate a group who embrace theatrical music and dare to embrace the idea of a true theater of horror- much like the classic Grand Guignol, except these are very unnatural horrors. I listened to this album while trying to fall asleep, and I cannot express how vivid and horrifying the visions were – the macabre images were gorgeously hideous. I also don’t recommend EOD while walking alone at night, just so you know.
Clearly The Great Old Ones nail the atmosphere, but where their Season of Mist debut succeeds is in how they’ve shifted their sound into grander, more punishing directions. While the long-form compositions still feel indebted to atmospheric post-metal, very little about EOD relies on that formula. Instead, the band have ratcheted up the second-wave influence, while doubling down on the doom and dissonant death metal aspects of their sound. The drums largely stay in a more death style, and I never knew how well that would work. The greater emphasis on dissonance (think Departe or Ulcerate at their most melodic) results in a harrowing listen that is chocked full of dread, melancholy, and the sense that every moment is left with the existential horror of your last minutes on earth. These are interspersed with crushing bursts of Immortal-style thrash-y riffing sections (especially in “The Ritual” and “Mare Infinitum”). Despite the fact that it doesn’t flow perfectly as a concept album, EOD is a remarkable listen and one that gets better the more you see the pieces fitting together.
The small bits that keep The Great Old Ones’ latest from perfection are the album’s brick-walled sound. It’s clearer and cleaner than most poor mix jobs, and the otherworldly sense it creates does help the atmosphere, but a better master could really do some wonders here. Also, the album really ends with the stunning “Mare Infinitum”; the overlong acoustic outro feels largely unnecessary. Otherwise, this may be the pinnacle of horror metal, where shock tactics and silly costumes are put in their place. EOD is a masterclass in its ability to challenge and scare the listener, and it’s hard to believe, but The Great Old Ones could do even better.
