BALMOG: “LAIO”

(In his review below, our Norway-based contributor Chile has some very nice things to say about the recently released fifth album by the Galician black metal band Balmog.)

Apart from being a generally well-conceived idea, black metal is also an excellently executed idea, evidenced by thousands if not tens of thousands of bands in existence. Bands coming from all four corners of the world, bringing their own cultural identities to the table and letting them shine through their music. Obviously, black metal being the subject, “shine” is maybe a bit misleading, but you get the idea.

All this makes life much easier for us reviewers, because you can pick any place on Earth, and you’ll find something interesting. Like our guests today, for example. Coming from the town of Soutomaior in the Spanish province of Galicia, Balmog is an undoubtedly interesting band, and also a very experienced one. With a career pushing on two decades, the band has been constantly releasing quality stuff and in good quantity too. 

Admittedly, I’ve been a fan of the band ever since I discovered them around the release of their second album Svmma Fide some ten years ago. Trying to avoid here the old circular logic of “I love them because they’re great, and they’re great because I love them”, the feeling is that Balmog showed constant growth with every subsequent release, culminating with their fourth album Eve from 2021 and the Pillars of Salt/Covenants of Salt EPs.

So imagine my complete lack of surprise that the band would surpass the ridiculously high expectations by releasing an absolute gem with their fifth album Laio, out now on War Anthem Records, a German label seemingly so specialized in releasing gems they should consider opening a jewelry store also.

Anyway, Laio. Incidentally and purely accidentally, laio means lament in Galician, so after last week’s Lament from the Polish band Martwa Aura, we find ourselves on the opposite side of Europe, perambulating again on the path of laments.

Thematically, the album continues with the band’s exploration of the esoteric nature of the philosophy of religion and the endless conflict of faith and reason, or in the words of the band themselves:

“From a conceptual point of view, Laio is about how we can be content with being simple pieces of molded mud or how we can shine like the explosion of a dying star, about how we can escape the ways of divinity, ways that can be dark and manipulative. Laio is a cry for independence and rebellion against the divine. ”

This translates very well into the album’s overall sound, which is as varied as they come. Using black metal only as a starting point, the band effortlessly apply different approaches in songwriting, thus creating something that will surely stand out in this year’s slew of great releases.

In practice, the two main strains permeating Laio that we should mention are, firstly, the subtle psychedelic touches, and the other being the gothic rock leanings, all strewn across the album’s slim thirty-nine minutes. Funnily enough, the one band that springs to mind with these variables is the unsurpassable Blue Öyster Cult, and we wouldn’t be far off with that comparison.

Naturally, Balmog’s approach is considerably heavier, prime example being the first single “Mud to Gold” which opens in a familiar way with a smotheringly fast riff, but as it progresses the song opens up to all of the aforementioned influences achieving the sonic divinity, while fighting the religious one.

The album becomes more and more off-beat as songs like “Tongue in Pieces” and “Like God Who Knows” establish themselves by allowing new growth upon the old stones. Roots sprouting through the cracks bring Balc’s vocals to the forefront, and his emotional delivery really brings home the band’s message of rebellion and independence.

Short atmospheric interlude “Ortus Umbra” leads us into the second part of the album, with “Mashalam” being the catchiest of the bunch. Turning the eye of the void towards us, the band light up the fire of unknown origin and outright rock for five minutes straight, really bringing home those BÖC comparisons.

And just when we thought we were out, they pull us back in the clutches of black metal with the majestic “The Silence of the Trumpets”, which picks up the pace even further, true to the genre’s traits. While keeping some of the rocking aspects of the preceding song, this rough beast stalks us from the deep shadows, its hour come round at last, slouching toward Bethlehem to be born.

“Getsemaní”, pushing on almost nine minutes, is one of those slow-burning monsters of a song, and what we would colloquially call a perfect closer. A steady, menacing intro accentuated by heavy bass draws us under the olive trees, burning with treachery and false promises of a kingdom come. 

The song never picks up any real speed, but keeps grinding our bones to the ground as the snakes of god slither over them, a paradise lost in tragedy. Again the tortured vocals make for the main driver behind the song, but really the whole band just burns through for us in what is one of the best songs in recent memory.

In the end, this world really needs more ideas, and fewer ideologies. Balmog is here to help us with that transition by releasing an album that is brimming with musical ideas, but also has a strong lyrical message attached to it. The diversity of styles and talent on display are a recommendation in itself, and as the band roams freely between the genres, limiting themselves was never an option. A true work of art.

Laio was released on May 23rd on War Anthem Records in all available formats. Orders for the record and all related merchandise are possible via the label and Bandcamp stores.

https://www.instagram.com/balmogrevelation/
https://www.facebook.com/p/Balmog-100063606525380/
https://balmog.bandcamp.com/album/laio
https://war-anthem-records.bandcamp.com/album/laio
http://www.war-anthem.de/