Monetized Pagan Gods IV review by Jose Beausejour

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  • Released: Jan 1, 2014
  • Sound: 5
  • Lyrics: 5
  • Overall Impression: 5
  • Reviewer's score: 5 Decent
  • Users' score: 6 (1 vote)
Jose Beausejour: Monetized Pagan Gods IV

Sound — 5
Black metal devotees form a small but loyal and hard-core fan base, and anybody who has followed and enjoyed Jose Beausejour's "Monetized Pagan Gods I," "Monetized Pagan Gods II," and "Monetized Pagan Gods III" will probably go for number "IV." Production values on this body of work are deliberately low-fidelity, an homage to pioneer black metal bands of the 1980s. All-in-all, "Monetized Pagan Gods IV" should serve Beausejour's current fans well, with enough clever musicianship leftover to entice a few new fans.

Lyrics — 5
"Vocals" and "lyrics" are almost separate entities; you need to read the lyrics because the vocals themselves are basically unintelligible, providing a true-to-the-genre marbles-in-the-mouth background that is swallowed whole by distorted guitar riffs and steamy percussion. Just reading the titles of the tracks will give you an idea of what "MPGIV" is about:

01. Glaucus
02. Jaguar
03. Old Age
04. First Gate to the Netherworld
05. The Old Man and Death
06. The Man Who Was Weary of Life 3
07. Tears for Lesbia's Sparrow
08. Second Gate to the Netherworld
09. Refrain of the Harper
10. A Prayer to the Gods of the Night
11. Third Gate to the Netherworld
12. To Aphrodite 1-6
13. I Turn the Carriage Yoke and Set Off
14. I Will Kiss Your Mouth
15. Fourth Gate to the Netherworld
16. Satan's Proud Imagination
17. Fifth Gate to the Netherworld
18. The Man Who Was Weary of Life
19. The Death of Lesbia's Sparrow
20. Sixth and Seventh Gate to the Netherworld
21. Fall Like Thunder
22. Cairo Love Song 21
23. Ave Maria

Overall Impression — 5
In terms of content, "IV" doesn't break a lot of new ground, but the "Pagan Gods" series trots out enough corpse-painted anti-everything feeling that Frenchman Beausejour's work won't be accused of any overt commercialism, as some critics complained was happening when he did his take of The Clash's "Rock the Casbah." Though the fidelity is garage-level, there are symphonic touches reminiscent of classic work from Emperor, and Beausejour manages to stay well-away from slavish allegiance to formulaic output of groups like the 1980's incarnation of Venom.

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