Clandestine Blaze - Harmony of Struggle (2013)

Clandestine Blaze is a rather obscure band from Finland. It seems that the last several albums are released almost in secret, as news spreads so slowly and not much is mentioned about them. Even on Mikko's own Northern Heritage website, the mention of his latest release is usually buried in with everything else, with no special attention given to it. So it is no surprise that, despite the album being released in May 2013, I am just now learning of the existence of Harmony of Struggle. Thankfully, fans of Clandestine Blaze were not subjected to another four-year waiting period, as before. Especially since the last two albums, Church of Atrocity and Falling Monuments, were mediocre when compared to the Mikko's earlier works. As such, expectations for this record were rather low. This was a good thing, as it led to somewhat of a pleasant surprise to find that this collection of songs seems a bit more inspired and coherent than the last couple of releases. 

Past albums from Clandestine Blaze have been characterized by somewhat odd production jobs, yet Harmony of Struggle sounds much less awkward and possesses a better sound than its immediate predecessor, in particular. Whereas the last record was distorted in the wrong ways, enough to negatively affect the overall atmosphere, this effort is instantly more pleasing to the ears. The guitar tone is powerful and raw, with no excess irregularities in the sound. At times, it hearkens back to Night of the Unholy Flames and Fist of the Northern Destroyer, especially during the faster parts. The drums are at just the right level, rather than pounding on top of everything. The percussion is more blunt, rather than possessing the hollow and distracting sound that was present on some previous albums. The vocals sound nearly identical to most of the band's previous works. Mikko's voice has always been deeper than most standard Black Metal vocals, and buried just enough to allow the guitar melodies to be the primary focus but still high enough to be easily discernible. 

Musically, this is definitely the strongest work to be released under the Clandestine Blaze name in nearly a decade. The songwriting is much more cohesive and the addition of eerie keyboards, from time to time, really accentuates the riffs and the overall feel of the tracks in a positive way. While Fallen Monuments was a step up from Church of Atrocity, in some aspects, the poor production was really detrimental and the whole thing was rather forgettable. However, Harmony of Struggle is makes much more of an impact from the very first moments of "Memento Mori". This morbid intro sets the tone for what is to come, somewhat reminiscent of Si Monumentum Requires, Circumspice from Deathspell Omega. This leads into the intense "White Corpse", which is a fast-paced track that belongs among the better Darkthrone-inspired pieces that Clandestine Blaze has produced. Mikko always excelled when he went for the more straightforward songs that featured tremolo riffs over fast and primitive drumming. "Messiah for the Dying World" and "Wings of the Archangel" also follow this pattern, though the former also includes a more Celtic Frost-derived mid-section and a slower ending. While certainly influenced by the sort of riffs present on Under A Funeral Moon and Transilvanian Hunger, he has always managed to add his own unique take that made his band stand out among the legions of clones. Slower songs, such as "Myth Turned Alive" and "Autumn of Blood and Steel" possess more power and add a bit more of a morbid feeling to things, with the latter being book-ended by two more instrumentals. While the influence of Fenriz and Nocturno Culto can still be heard, the Burzum influence that once made up a fairly strong part of the Clandestine Blaze sound has gradually faded.

Harmony of Struggle features some memorable songwriting and is quite a solid album. With that said, it still lacks the severely eerie and darkened feel of Deliverers of Faith. It would appear that, in retrospect, that record was an anomaly within the discography of Clandestine Blaze, as Mikko has never before or since produced something with such a nightmarish feeling. Perhaps, it is unfair to compare all subsequent works to that one. So, to ignoring that, it would be safe to say that this new record is the best thing he has done in the past ten years or so. It may be lacking something, similar to recent efforts from Horna and Sargeist, but this is a worthy listen and should please fans of Clandestine Blaze or Finnish Black Metal, in general.

Shining - III: Angst - Självdestruktivitetens Emissarie (2002)

Shining is an incredibly overrated band from Sweden, often labeled as Black Metal or even DSBM. By October 2002, with the release of III: Angst - Självdestruktivitetens Emissarie, Kvarforth's vehicle of attention whoring had already strayed quite far from its more underground roots. What one hears with this album is an over-produced, empty and meaningless collection of noises that serve no purpose and are a complete waste of the listener's time.

As if the production of Livets ändhållplats was not already too clear for this type of music, the third Shining record possesses an even cleaner sound that removes what little darkness might have remained with a murkier approach. The bass lines, in particular, are higher in the mix than necessary, and the same can be said for the drums. The vocals are actually buried, somewhat, with the guitars sort of blending into the middle of the rest. Though, with the overall weakness of the songwriting, this is not a real problem as there is nothing lost. No amount of distortion or rawness could have possibly saved this record from its fate.

The compositions are very bland and pointless. Whereas the previous efforts showed a significant influence from early Bethlehem and even some Burzum, Angst - Självdestruktivitetens Emissarie has more of a depressive rock feel that is taking over. The main problem with that description is that there is really nothing depressive about this, other than the severe lack of effort put forth into the writing and recording of this horrid album. Everything from the empty and useless guitar riffs to the overactive percussion just reeks of a band that had nothing to offer and no real point for bothering to waste anyone's time listening to this worthless trash. One is likely to get a headache even trying to comprehend what these guys thought they were attempting to do by even entering a studio when they clearly had not bothered to compose any real songs. The guitar melodies do not flow well and really go nowhere, limping from one ill-conceived idea to the next. There are still some nods to the Black Metal scene that spawned this wretched project, such as the tremolo riffs and fast drums that can be heard on the title track, yet the riffs possess no feeling and none of this accomplishes anything, whatsoever. Even the addition of acoustic bits and silent passages fails to create any sort of atmosphere. In the end, it just shows a very confused group of musicians with no idea what they were doing. The most interesting song, "Submit to Self-Destruction", still manages to fall short of anything from the previous two albums and is actually a re-recorded song from an old E.P.

Angst - Självdestruktivitetens Emissarie is a worthless album that should be avoided, at all costs. Even if you are a fan of the early work of Shining, this really is not worth bothering with. This is such a step down from its predecessors that it makes them seem like brilliant classics, by comparison. It is a shame that Kvarforth didn't kill himself before recording this foul collection of under-developed ideas and passing it off as music. If you see copies of this anywhere, be sure to burn them all, rather than just throwing them in the garbage. The true "angst" of this record is from realizing that the cartoon character known as Kvarforth actually achieved fame based on such talentless releases as this.

Abyssic Hate - Cleansing of an Ancient Race (1994)

Abyssic Hate had quite the following in the Black Metal underground, some years back. Unfortunately, each promise of a new album has been broken over the course of the past twelve years or so. Surely, this may have something to do with why one hears this band's name less and less, compared to just five or six years back. Shane Rout's musical contributions began nearly twenty years ago and, though his work was hardly that unique, he did well for himself with the few releases that were spawned from those early years. The first Abyssic Hate demo, Cleansing of an Ancient Race, established a sound that was based on the Norwegian style of Black Metal. Of course, in 1994, this was hardly an isolated thing. Countless bands were ripping off the likes of Darkthrone and Burzum, and Abyssic Hate was no different.

Featuring six proper songs, this demo lasts just under half an hour. Most of the songs consist of tremolo melodies and fast drumming, fitting well alongside albums such as Under A Funeral Moon and Transilvanian Hunger. The fuzzy guitar sound really hearkens back to the former, in a way. However, Abyssic Hate was not simply paying homage to the early recordings of Nocturno Culto, Fenriz and Zephyrous (can't forget him). There are hints of Burzum to be found, here and there. Obviously, as this was recorded prior to the release of Filosofem, that influence is not present and all-consuming as it would be on Suicidal Emotions. Still, some of the riffs are reminiscent of early Burzum. The same can be said for the drumming, with some primitive use of double bass underneath the mournful and repetitious melodies. The tempo is not the same throughout, as there are plenty of mid-paced and slower parts to be heard. Naturally, if you just pop the CD in and skip from one to the next, only previewing the first few seconds, you will get an entirely different impression, as all of the songs begin at a higher speed before shifting in one way or another. The atmosphere given off by this recording is sombre and well-suited for nocturnal blood rituals, particularly those created by the morose closer, "Bloodletting".

For a demo, the sound is pretty good. This is much more clear than the earliest recordings from Gorgoroth, Enslaved or even Varg's demos. The guitars are distorted but yet the production is clear enough for the riffs to be recognized and followed. There is no need for the type of effort that one might have to put into an old Moonblood tape, for example. The drumming is loud enough to be heard, though still fairly buried in the mix. Though it is probably a drum machine, the sound is not so inauthentic as to really distract from the music. As for the vocals, they are similar to those of Nocturno Culto's on Under A Funeral Moon or Quorthon's on Under the Sign of the Black Mark. In fact, on "Damned for Eternity", one can even hear somewhat of an old Bathory influence, though it is more likely that this is because the Darkthrone albums that he worshiped possessed this, rather than any real connection with the originator of the sound.

In the end, Cleansing of an Ancient Race is a solid effort. With one or two more songs, as well as a proper release, this could have easily been a full-length album. Though the obvious Darkthrone-worship is the primary inspiration for this demo, it is done well and Abyssic Hate may have been the only band in Australia that was following the northern Black Metal sound as opposed to the others that seemed to look more toward the likes of Beherit or Blasphemy. This is probably hard to find in its original form; however, it has been released as part of the A Decade of Hate compilation.

Totalselfhatred - s/t (2008)

The first time that I heard the band name Totalselfhatred, I was rather disgusted. Without even hearing the music, I assumed that this was yet another boring and weak DSBM band with no substance, similar to the likes of Sterbend and Xasthur. It was only some time later that I discovered that the former vocalist of Horna, Corvus, was handling guitar and vocal duties for this band. Upon learning this, I decided to give the band a listen. Irritating band name or not, this is certainly worth hearing.

What one finds when exploring Totalselfhatred's 2008 full-length debut is something far more fascinating and meaningful than the aforementioned bands that are lumped into the same group. One of the most important differences is that the music actually evokes some kind of feeling and connects with the listener in a rather miserable manner. With bands such as Thergothon, Skepticism, Shape of Despair and Mortualia to its credit, one should not be surprised that this Finnish band actually succeeds in creating a bleak and hopeless atmosphere. One thing that sets this apart from the terrible masses of "suicidal" Black Metal bands is that Totalselfhatred is not just pure misery in sonic form; there is a good amount of aggression, even if it is turned inward, to be found on this album. The songwriting is never dull or pointless. It is actually a lot more dynamic than one might expect, featuring a mixture of fast and slow tempos, contrasting the lifeless and hopeless moments with those of pure rage and insufferable hatred for this existence as a whole. Corvus brought this kind of feeling to some of the Horna material, over the years, and he excels in finding suitable ways to compliment the music with his raspy and maniacal screams.

The production is rather clear and smooth, when compared to other Finnish bands like Horna or Baptism. However, in this case, it is somewhat appropriate. There is a lot going on, with the addition of acoustic guitar bits, keyboards and the woeful bass lines that put more emphasis on the melancholic guitar melodies. At times, one is really more reminded of bands like Katatonia and Paradise Lost, with the various guitar passages. Even some of the clean vocals from "Mighty Black Dimensions" hearken back to Icon. To call this pure Black Metal, even of the depressive sort, would be kind of erroneous. There are definitely other influences at work here. The riffing is so varied that it would be more accurate to consider this a mixture of Black and Doom, really. With this in mind, it makes more sense that the guitars have such a thicker and fuller sound that what most would imagine a Black Metal album to possess. Distorted as they are, they still allow enough clarity for the listener to really bathe in the agonizing and hateful vibes that dominate this record.

Totalselfhatred is the sort of album that is not exactly safe for all. In particular, if you are already in a rather dark place, the mournful atmosphere that this creates is likely to intensify the misery. Songs such as "Enlightment" and "Ruoska", in particular, are drenched in grief and pitch-black feeling. In a sense, it is as if you cannot breathe properly. During these moments, you can sense the utter hopelessness of existence and it becomes clear that the only answer is to put an end to it. The songwriting is rather consistent, though the first two songs stand out from the rest. However, one really does not seem to belong. "Spirituelles Equilibrium" kind of interrupts the flow of the album, as it includes more intense riffs that seem more befitting of Death Metal, really. Otherwise, this album gradually degenerates and drags you into a dreary psychosis, where it becomes completely logical to consider taking a sharp blade and slicing your own throat.

In the end, it is likely that most of us should follow this path, rather than existing just for the sake of not being dead or trying to cover the misery with one meaningless thing or another. This world is an empty and hellish place and we were all damned at birth. The masses will tell you that only a coward would seek death instead of continuing on with this pointless battle, but the truth is that those people are too afraid to take that final step and want as much company in this hell as they can have, since it somehow eases their suffering to share it with several billion others. Real courage is casting aside the instinct for self-preservation and doing what needs to be done, instead of giving in to false hopes and sticking around waiting for some kind of miracle. Perhaps, this album is the soundtrack for some to summon the courage to do this.

Moonblood - Rehearsal 12 (1998)

Taking form from the dark nothingness, in March 1998, Rehearsal 12 is the final such tape from Germany's Moonblood. After only four years, the band seemed to be winding down. Certainly, the creativity would not remain at the same level as before, with less and less output as time went on. For their final rehearsal recording, Gaamalzagoth and Occulta Mors delivered an hour and a half of quality music that is certainly worth the time of any Black Metal fan.

The sound quality is surprisingly good, compared to some of the other recordings. It could be that my copy of this is simply better than what I have of the others, but there is no way to really know. The sound is very raw and underground, of course, but there is a certain clarity that was often missing from some of the previous rehearsals. The vocals are not disproportionately high in the mix and the guitars are easily discerned from the rest. The riffs come across well and there are no moments where one is struggling to follow along, as would happen before. The drumming sounds a little odd, almost like a drum machine. Still, it is not enough to really affect the atmosphere.

Musically, the songs remain true to the style that Moonblood is best known for. There is no senseless experimentation or wandering beyond the established boundaries of their usual approach. The songwriting is still rather dynamic, something this band rarely got enough credit for. A track like "Endless Chaos" displays a skillful mixture of the faster tremolo melodies that dominate much of the band's output with memorable mid-paced riffs that are never dull. Songs like "Domain of Hell" and "A Walk in the Woods" are a little more straightforward, characterized by sombre and somehow epic guitar riffs that permeate the darkest depths of your mind. The latter is the only track on here to make it onto the band's second full-length, Taste Our German Steel. In this case, it was a very good selection. One must also keep in mind that this was written and recorded during a time when many bands of this style had gone soft or experimental, and those that would pick up the torch were not fully prepared to do so yet, in most cases. Moonblood was absolutely keeping the black flame burning and, for the hundredth time, these guys should have recorded a half a dozen full-length albums, at least. There are traces of an old school '80s approach, here and there, blended into the band's typical dark and eerie riffs. This is evident when listening to "The Quest After the Doctrines of Might & Wisdom" and "Into Frozen Forests". The former is a rather lengthy song, yet possesses a minimalist feel as it consists of relatively few riffs and maintains the same pace throughout. It could probably have been a few minutes shorter, but the extra length is no real detriment. There are songs that last even longer, such as "These Graves and Wooden Coffins are My Realm". The same can be said of this one, more or less, as there is no real necessity in going well over eleven minutes. The song is good, and there is no problem with any part of it, but it could have had the same impact at half the length. Another long one is "In the Moors", though it stands out for a different reason. It may seem like a typical Moonblood song upon first listen, but the actual harmonies are somewhat strange and uncommon for them. The feeling created is still cold and dreadful, so it certainly accomplishes something. Still, one would almost expect to find these riffs on an LLN recording, instead. Another song that feels a little out of place is"When the Moonlight Takes the Sky". The riffs are not quite dark enough, despite seeming the other songs, on the surface. The length does not help matters, as this is another that is stretched beyond what it should have been. The last two tracks, "Troglodytin" and "As a Soul in the Blazing Banner of Darkness", make up for any strangeness and end the tape on a better note.

Rehearsal 12 is fairly solid, with more quality Black Metal from the elite of the German scene. Some of the songs are longer than they need to be and there are some odd riffs, but there is nothing on this recording that one would consider to be bad. With that said, the Witchfinder General cover is completely out of place and does not belong on here. However, since this is not an actual album, things of this nature really should not count against them, too much. Even though several of the songs needed to be worked on a little, there are still enough good ideas on this tape to prove that Moonblood was capable of much more than 99% of their so-called peers, during 1998. This is certainly worth hearing for any fan of the band and of raw Black Metal in general.

Moonblood - Rehearsal 8: Conquering the Ravenland (1996)

It was in the spring months of 1996 when Moonblood set to work on one of their absolute best recordings. Rehearsal 8 - Conquering the Ravenland is a rather difficult demo to obtain, given the inherent rarity of the band's recordings. Even downloading is a difficult endeavour, as most copies that one runs across are simply songs from Rehearsal 7 with altered titles. Apparently, a lot of people don't take the time to truly listen to these brilliant works, as the Moonblood name is somewhat of a status symbol for some that wish to infiltrate the Black Metal cult, rather than a band that they truly appreciate. This is their loss, as Gaamalzagoth and Occulta Mors were utterly connected with the darkness that gave rise to this music in the first place, something which is quite evident on Conquering the Ravenland.

The overall sound is rather good, compared to some of their other recordings from 1996. The guitars are the dominant aspect and possess a certain level of power during the slower parts while the faster riffs maintain clarity and are rarely trampled underneath the bass and drums. The treble is not at a painful level, either, though the vocals are definitely high in the mix and kind of piercing at times, not so much in style but in the way that they were recorded. Unlike some of the earlier tapes, the songs here are easily followed and understood, allowing for the genius on display to be recognized. This enables the music to come through much better and to make more of an impact, as the listener is not forced to spend as much time filtering out unnecessary noise in order to focus on the actual riffs.

The material on Conquering the Ravenland is some of the strongest of any of the rehearsal tapes. Those familiar with the split with Deathspell Omega and Dusk Woerot will recognize a few of the songs, which are nearly as effective here as on the later versions. Unlike some tracks that were re-recorded, these sound fairly identical and possess the same kind of grim and hateful atmosphere. The mournful and eerie melodies that Moonblood is known for can be found all over this demo, with the title track and "Claws of the Fog" being good examples. This brilliant songwriting really grips you and pulls you back in time, to an age long forgotten. It is not even a matter of the lo-fi production; i.e. it is a feeling created by the very nature of the compositions. There is a feeling of melancholy for what the world has become and a longing for ancient times that have passed out of human memory but linger within the hearts of some. The cold and barbaric vibe embodied by much of the music is not just one of primitive violence, but rather a simpler and more pure way. The maniacal vocals and unearthly riffs do well to connect the listener with true darkness, in a way that other bands claim to but could never hope to actually achieve. This is the pure essence of Black Metal. There is no posturing or false elements introduced. There is only a genuine spirit that proves that the members of Moonblood definitely understood what they were doing, rather than being like the legions of followers that can only imitate. Sure, one can hear influences from Bathory and Darkthrone, even a cover song by the former (that is not 100% essential for the integrity of the rehearsal), but this band was always capable of creating something unique and special, something that has not been duplicated and cannot be compared directly to any other band. When one hears a Moonblood song, it is absolutely clear and there is no mistaking them for anyone else. This is a sharp contrast to the countless generic bands that exist today.

The songwriting is really dynamic, for the most part. Some of the tracks feature mid-paced sections, as well as occasional use of clean guitars and some old school Black Metal riffs thrown in. However, this tape is defined by the great number of fast-picked tremolo melodies that possess a cold and woeful feeling. I've always maintained that the faster songs/parts were Moonblood's best, and there is a lot of evidence to back this up, here. "A Forgotten Vision of War" is just the type of straightforward, fast-paced song that is being referenced. From the cold riffs to the tormented and hate-filled vocals, this embodies the best aspects of the Second Wave Black Metal sound while still being easily identifiable as a Moonblood song. The first half is not too far from something that would fit on Transilvanian Hunger, yet the latter part clearly displays the style Occulta Mors had cultivated for the previous couple years. The only weak song on here is "Show Me Your Wrath", a rather boring and out of place attempt to mimic Celtic Frost. Nine times out of ten, bands end up wasting precious tape or disc space when they imitate this band, as few have ever been able to do so in an interesting manner. Nevertheless, this is quickly overlooked as the final tracks exhibit even more brilliance and dark atmosphere. "First Snow - First Blood" employs a mixture of acoustic guitar with ice-cold riffs that chill your skin, creating kind of an epic feeling. As for "Bells of Apocalypse" and "I Hail the Night", these are two of the best songs that Moonblood ever recorded and these versions deserve nearly as much praise as the ones recorded in the following year. The sombre guitar melodies are uttelry haunting and remain embedded in your subconscious, never to leave. These miserable sounds will linger in your mind until your dying day. There is also a sense of urgency in these last songs, as you can feel that you are nearing the end and soon to leave this rotten world. A feeling of dread comes over you as the fear races through your brain, but it is soon replaced by the relaxing knowledge that the torturous journey through this hellish realm is soon at an end.

Conquering the Ravenland is the strongest material that Moonblood unleashed during the year 1996, even eclipsing most of the songs found on their debut L.P. If they had split up and vanished immediately after releasing this rehearsal tape, their legacy as one of the most important and genuine Black Metal bands to ever exist would have still remained to this day, and beyond. Moreso than nearly any of the other rehearsals, this tape is definitely essential to all fans of this band and for those into music of a raw and yet sincere nature. It is a crime that these guys did not enter a proper studio and record this (minus a couple filler tracks) as a proper full-length, as this destroys nearly anything else that was released during that year. Rare as it may be, seek this out however you must.

Moonblood - Rehearsal 9: Unpure Desires of Diabolical Lust (1996)

As the season of dying crept over the land and all fell within the grip of bitter cold winds, in the autumn months of 1996, Moonblood gathered in the nocturnal hours to record once again. Rehearsal 9 - Unpure Desires of Diabolical Lust emerged in December and was the final release of any kind for this year. Clocking in at an hour and a half, this massive collection of songs is padded only with one unnecessary cover tune. Otherwise, it is filled with many of the trademark sounds that Gaamalzagoth and Occulta Mors had become known for.

As with the last tapes, this material displays a good deal of variation from clean guitars, mid-paced sections and the fast tremolo riffs that many have come to expect. This rehearsal takes a little time to fully get going, as the first songs are more slow and plodding. If not for the vocals, would not be out of place on a Viking-era Bathory album. However, Gaamalzagoth's voice is a hateful and croaking sound that makes Abbath sound like a choir girl. Yet still, he also shows some range and throws in a good amount of tormented screams when called for. The arrangement of the tracks could have been a little better, as putting slower songs together at the beginning of the rehearsal could seem tedious for some. It takes nearly fifteen minutes to get to the first high-speed Black Metal riffs, in "Under the Abyssic Black Wings of the Third Antichrist". Even this is rather dynamic and not as straightforward as one might hope and some parts could have been shaved off to make a shorter and more direct song. The title track fits this description well, being more lean and to the point, a fast-paced song that would have been a better choice to lead off the tape. The  main guitar melodies possess the sombre and ethereal qualities that characterized many of the band's earlier works. This unearthly vibe is continued on "Into a Castle on the Blood-Rocks", though the poor sound makes it difficult to fully recognize, at times. The morose tremolo riffs resemble a ghostly and wailing wind, at times, creating a cold and dark atmosphere.

The feeling becomes even more melancholic, during "The Curse of the Warlord" and "To Kiss the Timeless Eternity", both carried forth by mournful guitar melodies. Again, the lousy quality makes it a bit problematic to fully immerse yourself in this, as things begin to run together and to become a rumbling mess. This almost seems more noticeable throughout the second half of this tape. This is not so much of an issue with "Forgotten Spells in the Forests Nocturnal" and "Supreme Black Forces of Steel", though that may also be a result of possessing such familiarity with the later, and much clearer, recordings of these songs. In truth, these would likely be under-appreciated as well, otherwise. Still, the occasional riff manages to cut through the fog, such as the hypnotic melodies in "Looking in the Eyes Infernal", but only temporarily. This can interfere with the music's ability to transport the listener to another time and place, as previous recordings so often did.

The sound is not very good, and it does require that the volume is turned up a bit to really catch a lot of what is going on. As with the last tape, the treble is fairly high so listening to this can be somewhat painful, but it is not as bad as it could be. During the slower sections, one can clearly make out the riffs and even the clean guitar passages and bass lines. The drumming is at a decent level, while the vocals are kind of high but no moreso than on most of the other recordings. Some of the faster songs would have truly benefited from a better sound, as the low quality makes it hard to appreciate some of the melodies. "Night of the Incubus" is a good example, as it is barely perceptible that there is a really good riff leading the song off, but it is buried in the muddled sound. It is hard to believe that the sound seems to have gotten worse with the later rehearsals, rather than staying the same or improving a little.

Unpure Desires of Diabolical Lust is another solid Moonblood recording. It is not an official release, so the few disappointments regarding structuring and arrangement cannot really be held against it so much. Some of the songs could have been trimmed down, while the emphasis on the mid-paced riffs could have been dialed back a little. As said before, Moonblood's best moments are generally the faster sections which often feature very eerie and haunting tremolo melodies. The less of this that they include, the less impressive the material seems. As for the best songs, it would seem that these guys did a good job in choosing a couple of the better ones to record again, later on, though "Into a Castle on the Blood-Rocks" would have been another worthy choice to make an appearance on a proper release. Either way, this tape is very much worth listening to for any Moonblood fan.