Ilsa — Preyer

Washington, D.C.'s doomy death merchants, Ilsa, channel the essence of Satanic murderer Sean Sellers with their latest, Preyer. Sludgy, grimy, and hitting like a cement truck, this thick slab of metal brings forth the spirit of the darkest depths and wraps it around the listener like a two ton chain. Oppressive and unrelenting, Preyer uses its grim subject matter as a springboard for its brutal, heavy assault.

From the cover down through the eleven tracks on the record, Preyer shuttles forth the evil of mankind unto the listener in the form of heavy, sludgy doom. Pulling loving elements from early 90's inspirations, Ilsa gives the listener some respite from the suffocating heaviness in the form of melodic harmonies and wonderful juxtapositions. Tying all this together are rough, hoarsely screamed vocals that pull from many vile sources and influences, crafting something that stands on its own, and working in lock-step with the sonics in the back. With the thick guitars so heavy in the mix, it may seem easy to overlook the drums at first listen. However, the drums are mic'd so well and sound so clean and alive that they really take on a life of their own. Once one chooses to focus on them, the album takes on a different life and sounds amazingly different. Well timed and tight, the lack of reverb and cavernous boom keeps the thickness of the guitars on its own and their punch only increases this fact. With all these elements working together with such aplomb, Preyer should be a surefire hit. However, there is something missing and it's hard to place. The skill and craftsmanship is there, but the album never really hits its peak. Is it strange to say that an album about a Satanic murderer is lacking heart?

Preyer is a gloomy, heavy album that gets the job done. For those looking for a grim, good time, this album will fit the bill. Played with skill and wonderfully thick, Ilsa have a blueprint for success, and are a band to keep your eye on.