Acheron Tribute to the Devil's Music
By
Vinnie Apicella,
Contributor
Monday, November 3, 2003 @ 0:01 AM
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I have just one request. Next time can you try to condense even more about the band history onto smaller print? I think the disc was half over before I arrived at the closing thoughts of “world conquest” and “enemies eliminated from existence.”
Authenticating the ideals of true evil and denouncing anything to do with Christianity, Acheron’s one band you can be sure ain’t just going through the motions. Tribute To
Devil’s Music is twelve tracks documenting their many dark covers throughout the years as one of Metal’s most outspoken extremists. Their history reaches back to ’88 and their first Messe Noir debut, their leader Vincent Crowley has maintained a devout Satanic following having gone so far to debate the issues on televised forums and ultimately becoming a charter member of LaVey’s church before later disassociating himself to act alone. Acheron’s been a staple on the Black/Death Metal scene for some fifteen years and as they exist today, Crowley and crew are close to completing their first full length of new material in four years with Rebirth: Metamorphosing Into Godhood.
Their latest tribute pays homage to the Metal underground of the past, featuring covers of (What!?) “Black Sabbath,” Frost’s “Dawn Of Meggido,” Maiden’s “Wrathchild,” Bathory’s “Raise The Dead,” and Venom’s “Countess Bathory,” before reaching back to torch up one of their own lost souls, “Ave Satanas,” which first appeared on their Rites Of The Black Mass release in 1992. While many of the so-called “Black” Metal and Death bands fill the pages with propagandist bullshit that’s usually layered with the same Satanist psycho-babble and pasty-faced poses, you can rest assured with Acheron, the spikes, spears, and devil horn signs are for real! Their discography covers 12 releases including rarities and comps and soundtracking stuff, but all things considered, they must be doing something right. Each song maintains its original sense of purpose and individual characteristics, enhanced by the winter chill effect of the low-droned guitar riffing, Crowley’s death growls and ominous backing chants. While off center moments like Kiss’ “War Machine” or Priest’s “Devil’s Child” make sense in conventional “rebellious” wisdom… what, no Slayer? Highlighted moments are storming covers of Death’s “Evil Dead,” Kreator’s “Flag Of Hate,” Mercyful Fate’s “Room Of Golden Air” instrumental, the Venom shred, and Acheron’s “enhanced” version of their own song!
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