Picture this. There is a little-known band called Ghost that nobody seems to know anything about. Their popularity is waxing and they announce a small tour of dingy clubs to capitalize on their newfound, if not modest fame. The opening band is called Blood Ceremony which seems fitting, but not having heard them yet, you consider skipping them to get some Ethiopian food.
Thank the devil I didn’t. Within mere moments of the quartet assuming the stage, I felt I was being transported back to the 70s. With vests, fringes, sideburns, and a bassist that performed barefoot, the band immediately caught my attention and as the notes flowed, I can only describe my reaction as being entranced. For the next 45 minutes, I had forgotten about Ghost. I eagerly awaited each song, which Vocalist/Keyboardist/Flutist Alia O’Brien referred to as “tales,” and plotted my move to join their cult.
To my dismay, the hastily organized tour titled 13 Dates of Doom meant the Canadian quartet wasn’t able to adequately stock up on merchandise so they were already out of CDs. The hunt was on and since then I’ve fervently followed this diabolic gathering of musicians.
It has now been seven painful years since Blood Ceremony’s last release, The Lords of Misrule and while absence does indeed make the heart grow fonder, it also creates frustration which immediately waned upon hearing the first chords of founding member Sean Kennedy’s guitar. His distinct guitar tone takes a page from Tony Iommi’s book which the riffs have a vague semblance of as well. It would be a disservice to compare him too much to the inadvertent creator of heavy metal as Kennedy has a distinct style of his own.
Photo Credit: Matthew Manna
The Old Ways Remain starts with the aforementioned riff actually lacking the distorted warmth I was expecting but quickly piled on layers of melody and a vintage sound that is unmistakable. Notably even the guitar solos sound vintage. Considering Blood Ceremony seems stuck somewhere in the 60s and 70s, it goes without saying that these blues-laden staccato melodies don’t really shred, as they shouldn’t, but they sure do sing. Thus, the opening track The Hellfire Club is exactly what the devil ordered.
Ipsissimus not only forces me to get out my dictionary (just kidding I googled it), but the song named for the Latin translation of “your own self” achieves a groove that unbeknownst to me will be a mood that carries throughout. Eugenie is no doubt an excellent follow-up but ventures much more into the psychedelic and even funky territory. We’re even treated to some saxophone which beckons a similar flute-laden occult band called Black Widow. As is the case with most Blood Ceremony songs I find myself obsessing over just who Eugenie is.
Lolly Willows continues with a similar psychedelic feel while not ever venturing too much into the heavy territory. I’m beginning to feel that this may be an intentional direction change and when I finally glanced at the press release, I see that indeed it is. I would be more shocked and dispirited if the songs weren’t so good. While I can’t say this is entirely uncharted territory for Blood Ceremony, at this point I think it is the longest streak on any album of not reaching for the sheer heaviness we’ve come to know. On that note, I should say it’s not altogether absent, it’s just not at the forefront.
Power of Darkness is an even more laid-back song than any of the others. Thankfully the lyrics aren’t any less dark and what you get is a very pleasing tune. Bonfires at Belloc Coombe maintains the vibe with an excellent riff that ventures into the funk but is heavier than several of the previous songs. There is also the inclusion of a violin which immediately makes me think of bass player Lucas Gadke’s side project Völur. Sure enough, a guest appearance by that band’s fiddle player, Laura C. Bates, is exactly what occurred on the track. Given the different directions the band has taken, the inclusion of the violin is a great new addition that really adds to the overall feel of an experimental yet traditional album.
Photo Credit: Matthew Manna
Widdershins is one of the more uptempo tracks with a degree of heaviness especially at the halfway mark, balanced by the ever-excellent flute. Thanks again to Google for teaching me that the song is about a Scottish superstition about venturing in a counter-clockwise way which is considered unlucky. Duly noted! Speaking of contrast, Hecate finds itself on the outskirts of psychedelic and venturing into easy listening territory. I can’t say I’m mad about it because it is the perfect mood setter for a road trip or a 70s film montage.
Mossy Wood uses outside songwriter Amy Bowles who just happens to be married to guitarist Sean Kennedy. Surprisingly, it took an outside songwriter to bring back a dark and brooding sound that I can’t say I necessarily missed, given the quality of all the preceding songs, but I am certainly comforted by its inclusion. The fiddle makes its return, giving this a serious folky quality and the perfect precursor to the final song.
Certainly, The Old Ways Remain has lived up to its title. Blood Ceremony’s entire mien makes no qualms about being contemporary or even progressive other than perhaps advancing a little further in the decade they seem to be pleasantly trapped in. The finale on this album is no different in that regard but it is quite different from any other song Blood Ceremony has recorded. Yes, this album was much more mellow than any of their previous work, and there has always been a mainstream quality that would enable most fans of folk and/or rock to find something they could appreciate. Yet, Song of the Morrow should not just be a song that remains on the periphery of your average music fan’s radar. This song, quite plainly, should be played on the radio and played quite often. Beckoning back to the acoustic side of the band, Song of the Morrow may be the most beautiful song they’ve ever recorded. It’s also one of the most beautiful songs I’ve heard in a while.
I wish I could say that this album is flawless but it’s not. I sat here trying to determine why I can’t come out and admit that it is considering I have no real complaints. I love every second of it so I should be telling you, the reader (and future cult recruit) that it’s perfect. It dawns on me that the album is perfect save for one thing. I am not in that same dingy club where I first heard of Blood Ceremony. I am not letting my nostalgia hinder my genuine love for this album. After all, nostalgia consumes this whole release while still giving us a wholly new collection of tales, but Blood Ceremony is a band that is at their best when they’re in your face, in person. You see the vintage amps they use. You feel every beat of Michael Carrillo’s kick drum. Your eyes dart between the fretboards of Kennedy and Gadke. Of course, that’s if you’re at all able to take your eyes off of O’Brien who not only perfectly sings and plays two instruments throughout, but as a mistress of ceremonies that fully consumes your attention as your emotions vacillate between intrigue and fear.
Photo Credit: Matthew Manna
It could also be that I experienced a bit of shock to hear the more psychedelic aspect of the band. If so, then my own biases should probably not hinder a perfect 10 rating but if I’m being honest, I’m left wanting more. A blessing for sure but a curse in the sense that I could have used another heavy track. I could have used a bit of a warning of what I was getting into. I could also use a priest because my passive critique might mean a real curse will be put upon me. You know what? I kind of welcome it. If it’s Blood Ceremony placing the hex on my soul then it could be a lot of fun and if this is the soundtrack to my eternal damnation then I’m all in.
Rating: 9.5
Bernard Romero is a history teacher by day and a music and film fanatic by night. Though inexperienced in cults, he thinks he has seen Wicker Man and Midsommar enough to start a really good one so be on the lookout for how to submit your application.
Tracklist:
The Hellfire Club 4:48
Ipsissimus 3:12
Eugenie 6:19
Lolly Willows 3:35
Powers of Darkness 3:16
The Bonfires at Belloc Coombe 5:13
Widdershins 3:20
Hecate 2:45
Mossy Wood 4:20
Song of the Morrow 6:26
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