When it comes to Black Metal, one name that is often thrown around in some circles is The Meads of Asphodel. The UK band formed back in 1998, and to this day is still garnering more and more attention with every release they issue. Since forming back in 1998, the group has issued a number of releases, but only three full-lengths prior to this effort, The Murder of Jesus the Jew, and with a title like that, it's more then likely a number of people who see this sitting on shelves will be shocked or lured in by it's title. But, does this experimental Black Metal act really deliver on this release, or is the name and concept more a trick to lure unsuspecting metal fans into an album purchase?
The material on this recording is, perhaps, some of the band's strongest yet. Obviously, the band runs with a strong medieval theme, which shows nicely on this recording, mostly through the keyboards. Of course, many may pick up on the similarities here to Jaldaboath, a band that is composed of two former members of the group, and considering how close the keyboards can sound between the two it's actually something you would expect, even if you didn't know that fact. While the main premise of the recording is Black Metal, this album goes through various directions, and has a strong concept built around it that plays out more like a twisted Black Metal musical. Some tracks feature spoken narrations that push the story along, such as the introduction song "Boiled in Hell Broth and Grave Dust", while others just blast out the band's signature medieval Black Metal sound, though many of these tracks will go into other musical attempts, such as a lighter musical ballad.
"Addictred to God" also makes for an interesting piece, taking on yet another attempt from a standard musical performance, with what sounds like varying vocalists singing along against an upbeat piano tune like one might find in a musical performance such as Bye Bye Birdie or any somewhat toned down musical piece on Broadway. Of course, this happen right in the middle of the track, which is surrounded by some well done Black Metal that once in a while shows some medieval tones through the keyboards, but for the most part comes through with heavy distortions and evil-sounding vocals along the lines of a gutteral performance against chaotic sounding rhaspy vocals wailing in the background. This is easily the most interesting aspect of the varying styles presented on this release, and if one were to go through all the different approaches to this release, you could discuss them for longer then the actual album is, but know that the differing sounds outlined so far are just the the beginning, and there's plenty more to experience and go around.
The production of The Murder of Jesus the Jew has a raw quality to it, but nowhere near the extent of many "kvlt" or underground Black Metal releases. Musically, the audio is still pretty clear, but more in the background of the recording, as well as sounds a little muddier then most digital releases would be. This is fine considering the experimental nature of the band, as well as the more eccentric form of song writing the band has. In fact, it helps the album greatly. One aspect that really seems to take well from the lower quality is "Genesis of Death", which benefits greatly during the "scene" where Jesus is being nailed to the cross, which amplifies the dark atmosphere, as well as the keyboards and gutteral vocals that are performed against the man playing Jesus screaming as he is hammered to the cross. That is one of the very few sections that one could consider that acting become involved in this effort, and it shows through nicely. The rest of the spoken word sections are just that, and given how well "Genesis of Death" is handled, it makes on wish there were more scenes such as that through the album. This track, however, does feature a very upbeat section immediately after that scene, and it sounds more like it is meant as a sarcastic use of music along the lines of something Mel Brooks would do, such as the song "The Inquisition" from the film History of the World Part I, at least that's all that ran through my head. Of course, these little satyrical sounding musical moments appear in other tracks to the album, though not always as obvious as this.
And really, that becomes the only downfall of the album. From start to finish, The Murder of Jesus the Jew is a masterpiece that delivers on every level. While sticking strongly with the band's Black Metal roots, and the more medieval sound, they managed to weave together a conceptual piece that comes off more as a true Black Metal musical that, when you can understand the lyrics, becomes the perfect play about this topic from the Black Metal fan's perspective towards the crucification of Christ, as well as the role Judas plays in it. The off the wall musical compositions on many of the tracks, including, but far from limited to, "My Psychotic Sand Deity", "Apocalypse of Lazarus", "Man from Kerioth", and "Genesis of Death", all make this release what it is, and without those extreme changes throughout the recording, it wouldn't be as strong a release, and just come off simply as a traditional conceptual Black Metal act that may very well become long and drawn out after a while. So, if you're one of the few who has never heard this act before, The Murder of Jesus the Jew is the perfect time for you to become a fan, and if you already are one, rest assured that The Meads of Asphodel do not dissapoint with this release.
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