Inquisition — Ominous Doctrines of the Perpetual Mystical Macroc

Along with the rest of Inquisition’s back catalogue, Ominous Doctrines of the Perpetual Mystical Macrocosm is getting a facelift courtesy of Season of Mist. I speculated that the change of cover art was an attempt to distance themselves from Kramer and NS accusations, but perhaps this is to unify all of Inquisition’s releases with similar artwork. The reissue of Ominous Doctrines is another of Paolo Girardi’s, one that looks an awful lot like Chalice of Blood’s Helig, Helig, Helig. Again, he’s immensely talented, but his covers often look very similar due to reoccurring themes and a limited color palette, and so I prefer the original, especially on the full, folded out version as seen on vinyl and the A5 digipak. There’s something about that massive, trippy skull that fits the music so much better.

Listening to Ominous Doctrines of the Perpetual Mystical Macrocosm again makes it clear why this album shot Inquisition from respected underground band status to as mainstream as black metal can get: this album is a monster and definitely Inquisition’s crowning achievement. While musically, Ominous Doctrines is quite similar to any of the albums that preceded it, the production is hugely improved. The other albums (prior to their remasters, of course), weren’t raw, but the production was muffled and didn’t give Inquisition the massive presence band deserves. Obscure Verses for the Multiverse’s production’s mix is another story, but at least it looks like the band’s sound is being given a proper weight. This massive production really lets those crazy, nebulous, writhing riffs bounce throughout the cosmos with a serious punch.

If you’ve heard one Inquisition album, you have a good idea of their unmistakable riffing style. Dagon’s massive walls of sound buzz around like snakes, worming their way through your ears and into the darkest parts of your brain. Ominous Doctrines continues this well-established path but distinguishes itself with the quality of riffs. No Inquisition album has a lack of good riffs, but these are something special. The opener “Astral Path to Supreme Majesties” kicks your ass with a massive, high-speed tremolo riff that barrels through space at a million miles an hour, before being evolved into more traditional Inquisitional grounds, with bending chords flying out and then finally transforming into a frenzied solo. “Across the Abyss Ancient Horns Bray” and “Cosmic Invocation Rites” are two more examples of this band following its traditional sound and doing so well with it.

The production, as mentioned earlier, is excellent. The guitars are finally given their proper weight and really help drive the riffs home. The mix is excellent, with the guitars taking the center stage and dominating the soundscape. And rightfully so. They are without a doubt the star of the show. This is lost on Obscure Verses for the Multiverse, which feels like the drums and guitars are competing for your attention. Incubus is flat out amazing, no one can argue that, but there’s no reason for them to be so up front in the mix. Here, they work their magic underneath the guitars, supporting them on their wild journey through space and time.

With some artists, it’s really hard to pick out a favorite album. One might have the perfect production for the band, but be lacking in other areas. Or maybe the riffs are just slightly weaker than another album, but the mix is better. Inquisition makes that choice easy. Even though Ominous Doctrines of the Perpetual Mystical Macrocosm doesn’t differ from the band’s well-established sound in the slightest, it’s clearly their best. The production and mix are perfect, and it has some of Dagon’s best riffs. If there’s one good thing about Season of Mist changing the covers, it’s that it’s given me another reason to come back to one of the greatest bands in the world. This album is a masterpiece.