I usually tend to avoid reviewing classics like this because many have already said it better than I possibly could, but I noticed that nobody on the staff had analyzed this release in particular yet (with the alterior version of In the Glare of Burning Churches) so I'll attempt to do it some justice and explain why this collector's edition album (limited to 1000) is essential as well. Obviously Graveland need no introduction, being the strongest and most consistently mesmerizing of the Polish hordes with a uniquely cold and chillingly hateful atmosphere that has never been equaled (in sheer terms of evil Beherit's Drawing Down the Moon, VON's Satanic Blood, and Darkthrone's Goatlord are on the same level, but with very different settings), and these two demos from 1993 reflect the most primitive roots of the adamantly NS Darken Fudali and his vision which would eventually lead to one of the most admirable and twisted bands to ever advocate the black metal concept. I'll divide this up as if dissecting a split because the material contrasts rather vastly on the respective sides, both illustrating some moments which are wrongfully lost if one decides that Carpathian Wolves is the place to begin; indeed the work here is not solely for completists but an exemplification of pure and unbridled contempt which is simply brilliant, as was everything up to (and including) Immortal Pride.

Epilogue - Beginning with a short and adept intro that is nowhere within the realms of epic thoughtfulness interjected into those on the later albums, Epilogue "chugs" (this has only a diminutive common ground with any of the other Graveland work - it rather sounds heavily influenced by Bathory with an abnormally programmed drum machine) into two more brief tracks that don't leave much of an impression, as the riffs seem relatively random and directionless, although Darken's torturous rasping vocals are still very significant. "The Forest of Nemeton (part two)" is where this demo really begins to thrive, with odd synths and guitar work that are utterly absorbing, and the succeeding "Children of the Moon" is suddenly complete hypnosis, with that conventional larger than life Graveland trance led by an anomalous and enigmatic keyboard line. Another concise but improved outro ends a very cool demo, and the next begins.

In the Glare of Burning Churches - Initially this shocked me, as Darken sounds much more chaotic and frenzied than the suffering machine vocals I had previously been accustomed to on this recording (the version included here is actually the original). Opening with an incredible medieval folkish intro including a burning fire and a woman disturbingly screaming, the infamous self-titled track commences into some of the rawest and most brooding black metal ever produced. Capricornus' drumming is about as sloppy as one can imagine, devoid of any tempo whatsoever, yet somehow the rhythm fits the demo perfectly and is a great enhancement over the drum machine. Songs two and four (eight and ten), "The Night of Fullmoon" and "Through the Occult Veil," appear in better versions on In the Celtic Winter (not the latter specifically, but the precise riff was utilized in "Call of the Black Forest") although their manifesting sickness is still quite enjoyable here as well. I consider "The Dark Dusk Abyss" to be the weakest track of this release and it only breaches the standards set by the remainder of In the Glare of Burning Churches to a certain extent, but "For Pagan and Heretic's Blood" is another killer and closes with another folkish outro that epitomizes one of the most detestable and malevolent environments to every be conveyed.

FUCKING JESUS FUCKING CHRIST!

© 2001 hando