Antinomian reviewed by Forbidden Magazine

Antinomianism – the belief that one’s faith puts them above all other laws and restrictions.

Alright, I’m not gonna lie. Yes, it’s time to cut the proverbial crap. It is quite honestly a very rare occurrence, when the continent of Australia is brought up in any conversation, that I think of much more of anything other than the following things: kangaroos, koalas, dingos, aligators and/or crocodiles, AC/DC, Mad Max, Crocodile Dundee and, of course the lovable (yet venomous) platypus. Hardly ever, when thinking or talking about The Great Downundah, does the concept of relentlessly harsh black metal come to mind. I mean…the Outback just doesn’t scream “grim, cvlt and frostbitten” to me. With that said, it should now be made clear that maybe I was too quick to formulate such a restrained viewpoint. Yes, it’s times like this when my perception of something is knocked squarely on its ass and I begin to see things in a whole new kind of light. From now on, whenever Australia is mentioned, I will think of more than just marsupials and Thunderdome…for I have just witnessed the unholy, black metal spectacle known as Mhorgl!

Spawned from the vile chasms of Perth, Australia in 2004, Mhorgl launches their blasphemous attack splattered in bold hostility and a somewhat quirky sense of melody. This is a black metal band not afraid to step outside the box of tradition, while still paying homage to those from whom they draw inspiration. The band’s latest effort, Antinomian (The Execution Kollective), is a bare-knuckled lesson in misanthropic black metal filth with no hesitation to open doors to uncharted territory.

Ravenous tunes like “Nocturnal Blasphemy”, “Ironclad Destruction”, and “Essence of Evil” all ring of apparent traditional black metal ideals while throwing something new to the black metal table in the form of unusual melody structures and undeniably bizarre attitude. On “Necrohatred (a Tribute to Darkthrone)”, Mhorgl raises a church-burning toast to Norway’s own black metal legend in a sort of reinterpreted fashion. “Subterranean Assault Beast” cuts loose with a break-neck riff and jackhammer percussion, building gradually and lashing out with a hell-spawned vocal performance courtesy of vocalist Sam Moretta before giving way to Mhorgl’s scorching re-working of Ozzy Osborne’s “Mr. Crowley”. With this song, the band does more than just perform a cover, they damn near make it their own black metal ode to The Great Beast, himself.

All in all, the experience this record provides is one that could best be described as another breath of fresh air and imagination in a world stuffed full of clones and copycats. Antinomian is a solid, original effort from start to hell-raising finish and Mhorgl deserves all the attention they have coming to them!

Nate of the Living Dead
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