BSPH: Vulcano - Bloody Vengeance 1986

Vulcano is probably the greatest black metal band that ever graced the face of this cursed earth. Seriously. Their 1986 album Bloody Vengeance is the textbook example of a record that mows through the listener and leaves no stone unturned. The album is only 24 minutes long and itleaves a lasting impression without wasting a moment.

The album kicks off with the bone crushing blast beat of Dominios of Death. The song sweeps through like a hurricane and wipes the plain so clean you can see your own reflection. It goes in several rounds so that there will be nothing left intact. That's how you start an album. The vocal are drowned in reverb so much it is basically an increasingly more menacing sounding glossolalia. The transition into the solo section of this song is like short and sweet dance on the grave. The solo itself is like strangling a wild tiger kiwi - it is piercing through with its high notes.

Spirits of Evil just starts with a little beatdown after which the onslaught ensues. The following blast beat and riffing section is nasty as if the song actually was trying to chase the listener and cub him to the bloody pulp. The transition into the stroll is terrifying - this song is going to beat the dust out of you. The verse-chorus parts follow the suit and with each iteration get more and more intense. The buffallo crowd stomp before the solo is amazing. The solo is like burning lazer tearing through the debris of the body - it goes through like knife through butter leaving quite a mess behind.

Ready to Explode is a wolf in sheep's clothes of the album. It is a hardcore punk song with some serious Slayer-style soloing. And it ends with a bang.

Holocaust is a centerpiece of an album. It got more riffs than any other song - they are piled onto each other.  The guitars sound as if they were boiling magma of the depth of hell flowing backwards and excessively fuming acidic steam. By the time the song gets to the first chorus it gets so hot the drummer picks up the tempo so much he gets ahead of the rest of the band so much he actually gets in sync somehow and the whole thing sounds as if a mountain range engaged in a deep sea diving.

Incubus is the sonic equivalent of drilling the hole in the nondescript dense space and in the same time trying to stomp it to dust with the blast beat river dance. The vocalist is yelling some angry scary stuff - it sounds like he is trying to outbark the sleeping dog. The second part of the song cuts Slayer's throat, pulls out the tongue through it and fancies it as a necktie. The solo is sleazy - it sweeps up and down like splashes of blood.

Death Metal is the best song on the album. It is very much in the vein of classic New Wave of British Heavy Metal - Tygers of Pan Tang and Iron Maiden in particular. But not before long it gets bored with that and turns into a leviathan grinder that buzzsaws its way through the depths of eldritch nil to the surface of hideous zilch. The middle section sounds as if it saw Chtulhu, thought it was really bad idea and then ran scared without looking back not realizing it was running nowhere. And after realizing that it started to run even faster and actually started to disintegrate - the song ends rather abruptly.

Voices from Hell is something like Sparks filler track covered by Einstuerzende Neubauten but recorded haplessly wrong. It segues into Bloody Vengeance - the song starts with the satanic incantation that goes for some time to set the right mood. Then the song starts in earnest and it is an absolute murder. Unlike the rest of the album - it is mostly mid-tempo and it seems like it is meandering and going back and forth without apparent reason. In reality - it circles the listener around like the murderer who just cornered his victim.