Gost – Prophecy

Reviewed By: Denis Bridger

Review Score: 10

I have to say that I have been most excited about this release. Being a fan of metal and electronic music, and most other music that has integrity, this album may be one of the most interesting releases of this year.

Gost is Texas-based multi instrumentalist James Lollar, and Prophecy is his sixth release. This album is a journey into the dark abyss of industrial synth and sound design at the highest level. The music contained within will terrorize your ears whilst at the same time raising your adrenalin and pleasure senses with its intense rhythms, heavy bass and drums, and even the occasional guitar. Phophecy is an industrial landscape that is brutal from start to finish. Gost dwells on the outskirts of both metal and electronic worlds, but dives in and out of both genres with brutality and ease. It is a complicated piece of work, and bound to impress.

I am a little surprised that Gost is so well accepted in the realm of metal. I have to wonder if there is as much love for the band in the dance music world? No matter the band’s affiliation, music is the universal language and is always breaking down barriers. Gost follows in the footsteps of other groundbreaking artists like Trent Reznor and Al Jorgensen, who both moved slightly away from the guitar-based music for the world of the electronic. That being said, both Nine Inch Nails and Ministry created equally-as-impressive metal sounds, just with analogue and digital hardware and software. Also, if we were to look from the otherside, bands like The Prodigy and Depeche Mode have broken into the rock world to some extent. So, progress is being made and Gost definitely has the aggression of metal and, from time to time, it will make you want to dance (if you like that sort of thing).

Prophecy is rife with drum and bass, dubstep, dark industrial metal, classic techno, and much more. It is a journey into the dark and evil side of life done with electronics and some guitars and live drums. Gost recreates the metal-ness with synths, distortion, and a helluva lot of grandiose sound design. Gost has been on tour with black metal’s infamous Mayhem, which must have been an experience for all concerned, and it also shows how open the metal world can be. James has said himself that he finds it “strange but warming” that he has been accepted in the metal world more than the dance world, but I reckon the electronic world will catch up eventually (and I think some venues like the now infamous Berghain in Berlin would really appreciate Gost’s work as hard, underground music.

THE JUDGEMENT
The album opens with a dark, slow track. ‘The Judgement’ has a remorseful intensity that you might expect from industrial music, yet it also has some classic dance music synth sounds. It eventually picks up the tempo becoming a full-on dance track but without completely losing its industrial vibe. The drums are mostly programmed, which also lends to that industrial sound that acoustic drums can’t replicate (not without a lot of effects, anyway).

PROPHECY
The title-track dives straight into some scorching darkness and despair with some frightening screams and screeching. There is also what sounds like live drums with some mega rapid-fire processed beats that are probably impossible to play with two feet (and a crazy bell!). Prophecy then edges into a more classic industrial sound with some heavy bass synths and more of that bell. I love the up-and-down of this track. It really is everything one would want from heavy techno mixed with industrial metal. All at once it is dark, moody, and changeable with some excellent bass-lines going on. The track finishes on a mellow note. Love it!

DEATH IN BLOOM
The third track is filled with lots of crazy, processed beats (with what once again sounds like live drums and guitar). The drums and bass lead into an early Reznor-esque, gothic 80s electronic thing (I’m almost running out of ways to describe what I am hearing). We are then subject to some manic drum blasting, evil morbid screams, and even heavier guitar. The song continues to evolve, which, to be fair, is the theme of this record – genre-swapping sound design that will make any dance producer think a little more creatively (rather than the same old generic formulae).

DECEIVER
Nearing the halfway point of the album, we are met with a bit of a reprieve from the insanity-inducing drum loops, giving the brain (and ears) a much-needed break. The song has an excellent rhythm, driving bass lines, and massive leads. Definitely a dancer, and a little bit of light in a dark place.

OBITUARY
Gost, to my ears, are the epitome of industrial hard techno (with some metal elements). ‘Obituary’ is a good example of this, starting with some classic guitar riffs but then plunging into heavy bass synths with some melodic leads and some wicked drum programming. The song finishes off with a slow, heavy drone. All in all, a banger of a tune.

TEMPLE OF TEARS
Like all of the tracks on Prophecy thus far, ‘Tempel Of Tears’ builds and builds, constantly adding more layers and distorted synth with driving drums and some well placed drum fills. I love the synth sounds that James has created here. It is obvious he put a lot of thought into what he wanted (and maybe more thought about what he didn’t want).

DECADENT DECAY
This track might please the death metal fans out there, as it has lots of heavy guitars with blast beats and soul-crushing screams. It’s definitely more metal, yet not at the expense of distorted synths, heavy bass and even some acid house sounds going on (is that an 808 I can hear, maybe?). The end of the track is brooootal!

WIDOW SONG
The first single released. More of a traditional goth industrial sound. This song actually has vocals from James (which may please many). I can see why this track would a single, as it is perhaps more accessible to those unsure if they can leave the world of guitars. There are a lot of elements to this track, making it an all-round pleaser. There is some very excellent sound design going on here (and those bells from track one return to finish the song).

GOLGOTHA
I can see this being a bonding tune at a decent underground rave. In fact, if this were played at any of the various European Teknivals (techno festivals), it would go down a storm. There is something about the song that reminds me of a heavier Prodigy, which is a compliment in every way.

DIGITAL DEATH
The song says what is does on the tin… destroys via digitalis! A massive track with explosions of sounds and rhythms. It truly is a beautiful mess of deathly sound and design. No other way to describe it.

SHELTER
Another song that builds and builds with layers of distortion, weird sounds and synth leads, and more heavy rapid-fire evil noises and driving bass lines. This is likely another tune that would go down well at any good underground rave.

THROUGH THE WATER
… and we’ve reached the penultimate track, which once again delivers vocals that sound like they have just climbed out of a grave. The live drums and basslines run deep here, and the guitars explode into the brain. All of it lends to the brutal, super-heaviness of the song.

LEVIATHAN
What an epic end to a great album! A lovely sub-bass rumbles while a growing dark sound swirls and vexes into a full-on power dance track. Gost‘s ability to create these dark hammering sounds with melodic breakdowns and a mix of many elements of music is something to behold. What atun incredible tune to finish on.

FINAL THOUGHTS
For those who are already familiar with Gost‘s work, James has said that Prophecy is going back to the style of his earlier work. For those of us who are new to Gost, it is a fresh view of his music and what is possible, when, for many decades, electronic music and guitar-based music were natural enemies.

This album is a reflection of religious panic in the good ole USofA and, as James has described, “an imaginative fall of Western civilization.” Prophecy is, without doubt, pretty scary for any conservative parent. That being said, the album is an excellent piece of work that seems to reflect James’ need to make the music he wants to make based on his own musical background. For the purists, this may be a hard pill to swallow… but if it’s good, it’s good!

Through and through, this album is a banger, and should be well-received across the board. If I had to put a tag on this record, I would say it’s ‘progressive industrial metaltech’… but certainly make up your own mind. I highly recommend this album and I give outmost praise to James for making the music he wants to make, rather than pleasing those who need to be pleased.

Prophecy will be released on March 8th via Metal Blade Records.

Formed in 1986, Exhorder released two seminal albums in the early ’90s including Slaughter In The Vatican(’90) & The Law (’92) which most long-time fans still adore to this day, me included. Pantera is generally credited with bringing groove metal / groove thrash metal to the mainstream public, but it should be noted, Exhorder were playing this same style at the exact same time, or arguably before Pantera. Vocalist Kyle Thomas reformed Exhorder in ’17 after a long hiatus, ultimately releasing their critically acclaimed comeback record Mourn the Southern Skies in ’19 proving they could still thrash and groove like the old days, but also had a few stylistic surprises up their sleeves. I loved the Southern Skies record and watched Exhorder live that same year at the Philadelphia Fillmore, and they killed it. As a result, my anticipation was high for Exhorder’s new ’24 release, Defectum Omnium.

Vocalist Kyle Thomas is the only original member appearing on all Exhorder albums, and I have to say, his vocals in ’24 are as strong as ever. Unlike the previous release, Kyle is also handling rhythm guitar duties this time around and he’s in good form. Also new is the addition of Pat O’Brien (Cannibal Corpse) and he fits in perfectly with his raw aggressive guitar tone. The band is rounded out by bassist Jason Viebrooks and drummer Sasha Horn. Defectum Omnium (Latin for “the failure of all”) is easily the most diverse Exhorder album in their discography, I hear plenty of their early thrash groove, doom metal, some nu-metal, grunge, punk, hardcore and even a hint of atmospheric black metal on occasion. Safe to say there is something for everyone here.  

The album contains twelve tracks clocking in at just under an hour. Defectum Omnium takes the listener on an extensive musical journey with multiple moods, feelings and styles. Kyle noted that he believes the album’s title is representative of current world affairs with lyrical themes going back and forth between surviving oppression, despair, melody, harmony and brittle hope. The album artwork by Travis Smith is striking, perfectly matching the underlying vibe of the album. The production works very well, somewhat modern with well-defined instruments but the overall sound is best described as crushingly H-E-A-V-Y! 

The album starts on a strong note with the aggressive ‘Wrath Of Prophecies’ emphasizing thick massive grooves and a thrash attack consistent with early Vatican era material. ‘Under the Gaslight’ features Exhorder’ssignature New Orleans infused groove led by the very capable rhythm section of Jason & Sasha. The bass solos and powerhouse drumming are particularly strong on this track. The punk driven ‘Forever and Beyond Despair’ benefits from dynamic tempo changes and some cool old-school thrash-oriented riffing & lead work. ‘The Tale of Unsound Minds’ contains super addictive hooks and it’s surprisingly catchy. I hear broad based metal influences including Alice in Chains, Candlemass and Black Sabbath. 

The shortest track ‘Divide and Conquer’ is another well executed thrasher delivering a catchy chorus and stellar riffing. ‘Year of the Goat’ exhibits plenty of hardcore attitude and reminds me of post Cowboys era Pantera. The drum work is intricate and well done but the overall track is too one dimensional in my opinion. ‘Taken by Flames’ transitions nicely from a slow heavy grind to a catchy thrashing pace with a hint of melody, strong lead guitar work and a diverse Kyle vocal performance where he ends with a signature Tom G. Warrior style grunt.           

The longest track ‘Defectum Omnium / Stolen Hope’ is a favorite of mine taking the listener on a musical journey. It begins with a haunting Latin sermon and choir, becomes skull crushing heavy before ultimately speeding up into a hook laden melodic climax. Kyle’s vocal diversity and range is on full display here. ‘Three Stages of Truth / Lacing the Well’ is another multi-faceted track featuring outstanding shredding guitar work everywhere (both acoustic and electric). ’Sedition’ is a straightforward punky thrash track allowing Jason’s bass to standout, but it’s a little generic relative to the better material on the album.       

‘Desensitized’ rebounds nicely, it’s rooted in thrash, but contains some well-placed hooks and melody, more excellent guitar work, and a killer Kyle vocal performance where he exhibits both anger and melody to great effect. The album ends with ‘Your Six’ featuring Rick Wartell & Bruce Franklin from the band Trouble. Given these talented guitar guests, it’s not surprising to hear some heavy doom-oriented guitar chugging in the Trouble vein. I hear some early Alice in Chains influence in Kyle’s vocals.  

In conclusion, Defectum Omnium expands the Exhorder sound which will appeal to many but disappoint some preferring the more old-school Exhorder song writing approach. I sit somewhere in the middle. Although the entire album doesn’t click with me, there’s plenty here I do enjoy and I’m thankful to have a fresh batch of Exhorder tunes in ‘24. To my ears, all the contrasting styles make the album slightly less cohesive and tougher to listen straight through from beginning to end. That said, the best tracks are incredibly strong.

Best Tracks – ‘Desensitized’, ‘Defectum Omnium / Stolen Hope’, Three Stages of Truth / Lacing the Well’, ‘Divide and Conquer’, ‘Taken by Flames’, ‘The Tale of Unsound Minds’ and ‘Wrath of Prophecies’

Exhorder’s Defectum Omnium drops March 8th via Nuclear Blast Records.