Artist: Thirteen Goats
Album Title: Servants Of The Outer Dark
Label: Independent Release
Date of Release: 1 July 2022
I’m really not entirely sure how I should view this album, and how I should go about reviewing it.
Thirteen Goats is a new name to me, and to the metal world at large, with little known about the band, other than they like heavy, extreme metal, they have a sense of humour, and ‘Servants Of The Outer Dark’ is their debut full-length offering. Comprised of three musicians, Graham K. Miles (vocals, lead and rhythm guitars), Rob Fitzgerald (lead and rhythm guitars, vocals), and Mike Redston (bass, vocals, acoustic guitar), this band is then rounded out in the live arena by drummer Leonid Verman, with the bass duties switching to Cody Lewichew. Together, this ensemble takes us into a world of death metal that is hard to definitively describe.
Apparently, according to the ‘fun facts’ presented within the accompanying press release Miles is a classically trained Shakespearian actor with a master’s degree in theatre from the New School for Drama in New York City. This goes some way to explain the more flamboyant elements to this album that show up throughout, although maybe some of it was an outlet for the frontman to turn his pain into something creative – Miles played all of his guitar solos with a broken finger and two sprained wrists following a motorbike accident midway through the recording process. This is some feat and perhaps helps to underline the apparent determination and hunger of Thirteen Goats to succeed where so many others have failed. Clearly, they are made of strong stuff up there in Canada.
The thing that threw me from the very beginning, and still does to some extent, is the way in which the opening title track differs so markedly from the remainder of the album. The band themselves admit that this is the most melodic song on the album, but that doesn’t really tell the full story because ‘Servants Of The Outer Dark’ is so much more catchy and immediate than the rest of the album. With a gentle acoustic guitar-led intro, clean vocals and a full-on melodic death metal hook-laden chorus, it becomes disconcerting to not hear anything of its like again within any of the subsequent eight songs. That isn’t to say that the remainder of the material isn’t good, it’s just that I feel I have to register the slight pang of disappointment I encountered when I realised that there was no similar output anywhere else on the album.
With time, I have been able to make peace with the initial feelings of disappointment, not least because there is some genuinely great material to be heard on the album if you take the time to listen and treat the songs on their own merits. For example, ‘Challenge The Executioner’ is a thunderous and aggressive beast of a death metal track, with an impressive array of technical-sounding riffs, vibrant bass work, and some truly bruising drumming. It’s a song that proves that these guys have the ability and the chops to succeed, whilst channelling bands like Lamb Of God into their output.
On the other hand, you have a song like ‘Return To Ruin’ that is part thrash-infused monster, and part groove fest. Again, it is heavy and aggressive with the speed to match when the pace is kicked up a notch, but equally, the slower sections are no shrinking violets either, with a steamroller-like, pounding groove. The juxtaposition works really well, too, making it a much more memorable and enjoyable affair than I first gave it credit for. The spoken-word part is a little hammed-up, but it further emphasises the thrash vibe, backed up by lyrics that touch on the political, talking about institutions that have failed this current generation. The political content is maintained elsewhere, such as within the more no-frills, dialled up to eleven attack of ‘Prisoner’s Anthem’.
And then you have songs with names like ‘Through the Meat Grinder…The Recipe’ which is about as serious as a clown on a unicycle. Mind you, the song itself is nothing to be laughed at, what with its slow doom-like intro that then explodes into full-on death metal territory before veering into all sorts of wild and wonderful places, the musical equivalent of a toddler searching high and low for the biscuit tin. And how about the opening to ‘Sub-being’ which begins with a twisted circus ringleader’s address to the audience – it’s a little incongruous, as is the ensuing ‘whoop, whoop’ declaration before a brutal slab of death metal kicks in to blow our heads off.
As I declared right at the start, this is a difficult album to review as it has a little bit of everything within it, without nailing any colours firmly to the mast. The death metal quota is highest and acts as the framework around which everything else congregates, but even after several weeks in the company of this album, I don’t instinctively think of it as a death metal album. And that’s because of the wide variety of influences at play and, dare I say it, a lack of genuine, true identity from the band. Instead, I’ll cop out slightly and refer to it as extreme metal where just about anything goes. Nevertheless, I’d urge you to take a listen to ‘Servants Of The Outer Dark’ because as debuts go, there is an awful lot to enjoy within it. I also have a strong sense when I listen, that there is plenty more to come from Thirteen Goats. I certainly hope so.
The Score of Much Metal: 80%
Check out my other 2022 reviews here:
You can also check out my other reviews from previous years right here: