Golgothan Remains - Bearer of Light, Matriarch of Death

There are not many traditional concept EPs that are written and recorded as one piece of music within extreme music anymore. The last notable and memorable one may have been Gorguts with Pleiades’ Dust. Golgothan Remains new EP, Bearer of Light, Matriarch of Death is another, however it is split into 4 different chapters. The concept of the storyline across this 21 minute EP is that of two characters, two very old and powerful creatures in a barren world trying to co-exist together - a metaphor perhaps for many scenarios facing us culturally, politically and personally. Short cinematic soundscape segments open “Methuselah,” end “Tribulation” and also “Andromeda,” and they paint that backdrop perfectly. You can visualise wind swept rocks and dirt getting dragged across the decaying and dark landscape, with the two characters approaching each other, so close but yet so far away.

Angular guitars come in after the opening segment of “Methuselah,” setting the scene for this evil and poignant love story. This tone and style is very French, but played with a typical Aussie edge. Immediately, it is clear that the mixing job is excellent. The dual tracked vocals add depth to a powerful and intense opening, and you can hear each texture and layer. The EP is one piece of music, but it is impressive just how cohesive it is, and you do not notice the tracks end and begin. Gologothan Remains do a great job across the duration with pacing. I don't necessarily mean tempo here though. There needs to be peaks and valleys and ebbs and flows as it makes the climaxes soar higher. A good author knows the importance of this with the structure of a novel, and so do Golgothan Remains. I love the jagged guitar textures at 2:48 into “Methuselah,” and I can visualise one of the creatures revealing their teeth, perhaps using them as a weapon, like a jagged edged saw.

The Blackened Death Metal sub-genre is very saturated. It is difficult to unearth the bands, and releases that deserve attention, and Golgothan Remains with Bearer of Light, Matriarch of Death, has put their hand up here. But I see Golgotha Remains differently to most bands that are mixing genres. This is clearly just them, and it feels so natural. Their previous album, Adorned in Ruin (2022) was a really promising album, and a good example of mixing Death Metal and Black Metal, with perhaps a touch more Black Metal and focus on atmosphere. Golgothan Remains has improved upon that here. The transitions in and out of Black Metal (musically and vocally) is impressive, seamless and regular.

“Tribulation” gets a little more frantic, opening with a Death Metal onslaught. It is very thick and heavy, but it backs off slightly and then gets a little more Black Metal within a minute, and then switches back as though it is just part of this band’s DNA, and without thought or calculation - it sounds so natural to them. You can really hear the thick loose bass on this track, which is fantastic and a lost art form. Gologothan Remains demand that you pay attention to this EP. The 21 minutes is over so fast, but it requires many many listens to grasp what is happening with the mix, and the arc of the whole piece of music and concept.

Describing Matthieu Van den Brande (vocalist) as varied and dynamic is an understatement. He deploys varying textures of Death Metal, alongside some traditional Black Metal but it never sounds forced or calculated. On the intense and mostly urgent “Necropoles,” he uses a brief spoken word section, which adds glorious depth and a killer poetic element. Another brief spoken word section introduces “Andromeda,” doubling down on that dynamic. As an Australian band, Matty's European accent provides the band with yet another unique edge on their peers. Elsewhere, Aled Powell is all over the kit, never failing to add the correct texture at the right time. Matt Hillman’s guitar work is extraordinary, but never flashy. There are no solos here, or meaty power chords aiming at a quick fix, and an easy win for the listener. This is thoughtful and intelligent guitar playing that compliments the story, and the rest of the band. I have already mentioned the bass, which often appears easier within the mix, just at the right time. Adam Martin plays this instrument like a beast, almost channelling one of the EP’s characters.

“Adromeda” opens similarly to “Methuselah.” This is a clever, because it highlights that the EP has been written as one piece of music. What occurs over the next 4 minutes of “Andromeda” is a remarkable summing up of what has come before it, until it reaches an epic climax. It feels like a very sad story, and Golgothan Remains do a great job at capturing that in just 21 minutes. Again, paying attention will reap rewards. The lack of immediacy and clear vocal or guitar hooks may deter some listeners, especially those looking for a quick fix, whereas I want more of this. It is too short, and I am left wanting more, but that is also a good thing.

Killer release. Killer Band. Unique. Interesting. Engaging and a release that requires multiple listens. This will likely head straight into the Top 10 of 2024 - I don’t care if it’s shorter than the rest.