Review by Luka on May 15, 2002.

There are some bands who know how to properly utilize keyboards into metal and then there are some who just don't. Dagorlad are somewhere in between, and as this is only their debut I trust that they will eventually perfect their skill and soon forge their own distinct sound. Sounding painfully similar to contemporary masters of keyboard metal like Bal Sagoth, Cradle of Filth, and Summoning, Dagorlad's sound can best be described as a mixture involving equal parts of each, but with numerous and noticeable faults.

While most of the songs start off sounding very dark and promising they soon begin to slide into cheesy clichës and pitfalls that bands like Bal Sagoth are most famous for. Trumpet sounds playing those meek flat notes immediately try to create an epic feel, but without support and song build-up the result is just a cheesy melody played by a trumpet, with a heroic voice chanting meaningless words of bravery in the windy background. It's been done before, and plenty...

It is arrangement of "The End of the Dark Ages" that weakens Dagorlad's songs the most. There is virtually no plan or direction in the song structure, instead just a meaningless procession of ongoing riff and melody and, like a surprise bag, you never know what you'll get, sometimes it's good, sometimes bad, and in the end the only clear fact is that none of it fits together. If you like your keyboard music loud and upfront, outdoing and overpowering every instrument including the guitars than this could be for you, but it is certainly not for me.

Bottom Line: The metal world could do without Dagorlad, at least until they get better. These guys make Cradle of Filth seem godly.

Categorical Rating Breakdown

Originality: 5
Musicianship: 6
Atmosphere: 8
Production: 6
Overall: 3

Rating: 5.6 out of 10

Review by Alex on January 12, 2019.

Heavy, vile, robust, unforgiving and swimming in blasphemies is this debut from Musmahhu. Upon receiving the promo of this record and listening to it more times I can count, It was clear a vinyl purchase was necessary. With vocals that possess a rancorous delivery and instrumentation that is both agile and sordid, Reign of the Odious spits out a ball of fiery and fiendish fantasies. This dance with darkness is one that will be remembered for all eternity. Being unaware of Musmahhu's existence then venturing off to indulge in this content I was in awe of the sheer force and ruthlessness whilst contemplating the soaring caliber of this ritual music hammering through the speakers. I was even more bedazzled when I realized 42 minutes had went by like swoosh. This is way too good, but then again this is coming from a veteran known as Swartadauþuz who is directly involved in very very obscure black metal projects the likes of Summom, Trolldom and Urkaos, all of which I have never heard until now. This individual knows well how to mold an ideology and develop a sound that is accurate in confining and conveying a body that represents that tenet.

Reign of the Odious has a mature sound, one that is loud, clear and crisp; it has the best production I have ever heard coming from any underground death metal band to date. It's only a bad thing if the music sucks, thank fvck this record exhibits a consistency that is unparalleled for something this nasty and porangi, yet unexpectedly catchy. What is most noticeable and highly commendable about Reign of the Odious is the way in which each song (even the short interlude) assists its successor and predecessor, thus creating an air of coalescence. It's a clean sounding record yes, that has the production value of a mainstream record label, however, it also has a very chaotic ambiance that stems from the loud prolonged riffing that acts as a fleece audaciously fragmenting and erasing the unblemished surface of its audible clarity. On Reign of the Odious, Swartadauþuz casts a body of riffs that truly inherit that old-school death metal sound, and by incorporating the hand of black metal tremolo-picking and landscaping, the mixture results in a formation of melodic, yet crushing entity of black/death metal. These licks go well with the maniacal vocal ability of Swartadauþuz, his high snarls are twisted and his growls come across as very organic, full-toned/canorous. His presence is felt throughout the playtime of the record, and in doing so it adds a feeling of existential manifestation, where-in the music almost begins to display physical qualities, like you can reach out and touch it.

Special recognition and extol must be given to the drummer Kévin Paradis whom also lends his drumming abilities in other metal projects such as Agressor and Benighted. His performance on Reign of the Odious is magnificent, a true testament to skill, devotion and dedication to his craft. He is more than able to alter his approach and still maintain momentum numerous times even after exiting lengthy energetic complex durations of blasting and snare abuse. His technique is exceptional, as can be heard on “Musmahhu, Rise” and “Spectral Congregation of Anguish”. He hits the kit with adjure throughout the record; it's a blast to hear such energetic and fastidious drumming.

Reign of the Odieus is one of those albums that will have an everlasting impact for many years. Knowing that this is another side project of Swartadauþuz, I hope it is not abandoned, as there is a real power existing within Musmahhu's music that is yearning to be harnessed and expelled.

Sucking dry the luminescent:
“Musmahhu, Rise”
“Slaughter of the Seraphim”

Disgorging light’s championed deception:
“Reign of the Odious”
“Spectral Congregation of Anguish”
“Thirsting for Life's Terminus”

Rating: 9 out of 10

Review by Alex on January 12, 2019.

Heavy, vile, robust, unforgiving and swimming in blasphemies is this debut from Musmahhu. Upon receiving the promo of this record and listening to it more times I can count, It was clear a vinyl purchase was necessary. With vocals that possess a rancorous delivery and instrumentation that is both agile and sordid, Reign of the Odious spits out a ball of fiery and fiendish fantasies. This dance with darkness is one that will be remembered for all eternity. Being unaware of Musmahhu's existence then venturing off to indulge in this content I was in awe of the sheer force and ruthlessness whilst contemplating the soaring caliber of this ritual music hammering through the speakers. I was even more bedazzled when I realized 42 minutes had went by like swoosh. This is way too good, but then again this is coming from a veteran known as Swartadauþuz who is directly involved in very very obscure black metal projects the likes of Summom, Trolldom and Urkaos, all of which I have never heard until now. This individual knows well how to mold an ideology and develop a sound that is accurate in confining and conveying a body that represents that tenet.

Reign of the Odious has a mature sound, one that is loud, clear and crisp; it has the best production I have ever heard coming from any underground death metal band to date. It's only a bad thing if the music sucks, thank fvck this record exhibits a consistency that is unparalleled for something this nasty and porangi, yet unexpectedly catchy. What is most noticeable and highly commendable about Reign of the Odious is the way in which each song (even the short interlude) assists its successor and predecessor, thus creating an air of coalescence. It's a clean sounding record yes, that has the production value of a mainstream record label, however, it also has a very chaotic ambiance that stems from the loud prolonged riffing that acts as a fleece audaciously fragmenting and erasing the unblemished surface of its audible clarity. On Reign of the Odious, Swartadauþuz casts a body of riffs that truly inherit that old-school death metal sound, and by incorporating the hand of black metal tremolo-picking and landscaping, the mixture results in a formation of melodic, yet crushing entity of black/death metal. These licks go well with the maniacal vocal ability of Swartadauþuz, his high snarls are twisted and his growls come across as very organic, full-toned/canorous. His presence is felt throughout the playtime of the record, and in doing so it adds a feeling of existential manifestation, where-in the music almost begins to display physical qualities, like you can reach out and touch it.

Special recognition and extol must be given to the drummer Kévin Paradis whom also lends his drumming abilities in other metal projects such as Agressor and Benighted. His performance on Reign of the Odious is magnificent, a true testament to skill, devotion and dedication to his craft. He is more than able to alter his approach and still maintain momentum numerous times even after exiting lengthy energetic complex durations of blasting and snare abuse. His technique is exceptional, as can be heard on “Musmahhu, Rise” and “Spectral Congregation of Anguish”. He hits the kit with adjure throughout the record; it's a blast to hear such energetic and fastidious drumming.

Reign of the Odieus is one of those albums that will have an everlasting impact for many years. Knowing that this is another side project of Swartadauþuz, I hope it is not abandoned, as there is a real power existing within Musmahhu's music that is yearning to be harnessed and expelled.

Sucking dry the luminescent:
“Musmahhu, Rise”
“Slaughter of the Seraphim”

Disgorging light’s championed deception:
“Reign of the Odious”
“Spectral Congregation of Anguish”
“Thirsting for Life's Terminus”

Rating: 9 out of 10