WHISKEY RITUAL ‘BLOW WITH THE DEVIL’ REVIEW [WRITTEN BY DAN ROSS]

WHISKEY RITUAL “BLOW WITH THE DEVIL”
Art of Propaganda

Here we are with the third album of Whiskey Ritual, the italian Black’n’Roll band that after an amazing debut (‘In Goat We Trust’ in 2010) and the darker but less inspired ‘Narcomonicon’ in 2012, comes back with ‘Blow with the Devil’ that is destined to become a milestone of the genre.

An album majestic, powerful, fun and incredibly well crafted by musicians at the peak of their inspiration. Nearby the mastermind and vocalist Dorian Bones, there are Plague on bass, Asher on drums, A. on guitars and the new member H. Desecrator on the rhythmic guitar.

The band always tried to merge the purest soul of 90’s black metal, with a punk and street attitude borrowed by Motörhead and thrash-speed-metal of the 80’s bring back to fame by Darkthrone in the last years. The result is an unstoppable force softened by melodic but rude choruses that are destined to fix in your mind.

Starting from the incredible first four tracks (‘Blow with the Devil, ‘My Funeral’, ‘Too Drunk for Love’ and the ‘blackest’ song of the album ‘Satanic Kommando’), through the metal punk of ‘A.B.I.T.C.H’ and ‘Nekro Street Gang’, until the end with the furious ‘Tank of Intolerance’, there is no pause or low points. Every song has his identity and mark, forged by a songwriting never predictable and a guitar riffing that alternates sharp outburst with mid-tempo rock-and-roll breaks.

The voice of Dorian Bones is incredibly versatile and expressive, enriched by the backing vocals of Plague. Another point are the lyrics: with a great dose of irony, Whiskey Ritual speak about their deranged life, made of whores, violence, alcohol and drugs, delivering us at least a dozen of memorable quotes (my favourite ‘Perdoname madre por mi vida loca all I knew was whores, money and coca tomorrow i’ll be finally forgotten, you can all just say i was dumb, drunk and rotten‘).

So, join the Nekro Street Gang and blow with them, you won’t regret.

96/100                                                                                                                            (c) Dan Ross