If there ever was a target that was suitable for the ire of a black metal band then the Puritan church and one of its most brutal witchfinders, Matthew Hopkins is definitely that. The Infernal Sea’s fourth release Hellfenlic slams through your front door with torch and accusations in hand, a huge sounding black ‘n’ roll romp through the bleak flattened lands of East Anglia, as Witchfinder General Hopkins acts as judge, jury, and executioner whether rightly or wrongly until his downfall.
From the very start the distinct vocal styles of D.L. intertwines with riffing that borrows from rock ‘n’ roll and black metal alike. The riffs are toe-tappingly addictive, and once they’ve wormed their way into some grey matter they won’t soon be removed. Much like the much-maligned Witchfinder himself, it’s as though they are powered by some deity. Lead single ‘Bastard of the East‘ does a good job showing off exactly what The Infernal Sea are all about, grinding punk riddled black metal riffs, big boomy drum beats that drive the song forward and harrowed demonic growls that describe the work and eventual downfall of Hopkins – the apparent servant of God.
‘The Shadow of the Beast’ also showcases this raw, punk infused black metal at its best as it winds its way through ultra catchy double stop riffs, and double bass as rampant as the accusations of witchcraft by Hopkins. This is all before respite is provided in a lengthened chordy section, allowing some reflection on the wanton carnage described within, despite the catchiness of the song, you are left with a slightly hollow feeling as though the song hasn’t left a truly lasting impact. This seems to be an issue with the album, it’s a fun group of songs, and an interesting choice of subject matter (definitely suited to the genre) but after the last track finishes, there are only a few points where you can recall anything but the whirlwind of raw black metal guitars and well laid out vocals.
Whilst The Infernal Sea should be proud of what they have produced here, the album as a whole falls short of amazing due to a lack of dynamism at times. There is some offered, in particular the acoustic introduction to ‘Messenger of God’ is a welcome change up from the blistering distortion fuelled madness that proceeds it, with the addition of strings and a gradual build up into the song proper, however it once again fails to grasp that sense of grand dynamism and run with it, as soon drops back into the well-trodden path of the tracks before it. This album is worth a spin regardless; it’s well written, an enjoyable although not easy listen and deals with some fascinating – if terribly bleak – subject matters. It also offers a unique perspective into the mind of a narcissistic and deranged serial killer that isn’t found in a lot of the existing art on the subject, something vocalist D.L. should be commended for achieving. Despite this though, the lack of variation does ultimately and sadly mean it fails to reach its ultimate potential.