Washington, DC doom metal masters Ilsa unveil their sixth full-length album, bringing feral certainty to a world of indecision.
The first music of Ilsa’s I heard was Corpse Fortress (2018), well into the history of the band. What a great album. The music is Doom Metal in a very active sense, with no dragging or overdrawn moments. It is intense, and I expected the same from the new one, Preyer. It is all that and more.
“Epigraph” has a voiceover for the entire song where a Satanist discusses killing someone as part of what appears to be an interview. This is about Sean Sellers, a convicted murderer, and the album has this notion as its starting point. The music is heavily distorted and begins in the background. By the end of the song the positions are reversed with the voice becoming more distant and the music taking the forefront. “Poor Devil” is next and it is the first step after launch. The fully formed doom vision of the band is instantly in play and there is no looking back.
The pace is variegated but the filling line is not. The vocals on every track sounds like the world depends on the message getting through. The lead work is penetrating and the rhythm sets solid steel railing. The Punk intentions are plainer on some songs, like “Shibboleth,” and on others, like “Mother of God,” Doom lays it hands on heavy and presses hard. The title song is like a mad monk’s manifesto and the closer, “The Square Coliseum,” slides the stone lid over the sarcophagus of ruin in a final, terminal jolt. The place where solace lives is not accessible from this musical world.
Preyer is out this Friday, November 20th. It is a welcome addition to the band’s burgeoning canon. Recommended.
Band photo by Maire O’Sullivan.
Ilsa Bandcamp, https://ilsa.bandcamp.com/
Ilsa Facebook, http://www.facebook.com/ILSADC
Relapse Records, http://www.relapse.com
Relapse Facebook, http://www.facebook.com/RelapseRecords