ALBUM REVIEW: Born Under A Mad Sign – Church Of Misery

After seven years and a blistering set at Desertfest London in which the Electric Ballroom was laid to waste, the time has come for CHURCH OF MISERY to deliver new material. Since their inception in 1995, the legendary wielders of Japanese doom have delved into the depravity of various serial killers, rapists, and otherwise bad apples. The Tokyo bred band shows no signs of change as Born Under A Mad Sign finally appears.

The seventh chapter and follow up to 2016’s …And Then There Were None features seven tracks of quintessential doom. It’s worth mentioning we won’t be diving into the stories behind the septet, though will feed context as and when. There will of course be some discourse surrounding the enjoyment of what can be described as “true crime music” though that’s not a piece for the here and now.

The first string of the tapestry comes with Beltway Sniper. Following the sound of a rifle being cocked, radio static permeates the soundscape allowing broadcasts around John Allen Muhammad’s reign of terror across Washington DC to be aired. Muhammad, an ex-serviceman, shot and killed ten people while critically wounding another three over the course of three weeks in October 2002. A plethora of guitars pound through the reports like footsteps, gradually getting louder as if we were the next intended victim. What follows is a wonderfully melodic yet ominous walking riff. Tatsu Mikami’s bassline buzzes through the undercurrent for a pleasantly uncomfortable listen. Through gargled screams and gritted growls, Muhammad’s story unfolds until the 4:50 mark when an isolated guitar lulls us into a false sense of security, the growl of “Beltway sniper right behind you” sending flushes of hot dread through the mind.

Gorgeous density continues with Most Evil: the subject of which is Fritz Haarmann, aka The Butcher Of Hanover and the man depicted on the album cover. The German native murdered, mutilated, and dismembered at least 24 young men between 1918 and 1924. Most Evil begins with a heady riff which seems to convulse like Haarmann’s victims may have when he bit through their Adam’s Apple. Kazuhiro Asaeda’s trademark vocals sit on the drawn out end of the spectrum though maintains the element of surprise with a demonic scream here and there. Written from a victim’s perspective, the track becomes fuller with each line yet manages to stay balanced. The tolling of a bell tells us we’re within the realms of doom as we “suffer pain” to the tune of a faster groove nestled within a psych fuzz. A groove which brings us to Freeway Madness Boogie and the more anthemic track of the album. Following the opening track’s suit, this opens with a broadcast weaving the tale of California police stopping Randy Kraft at the roadside, finding a dying marine in the passenger seat of his car. Otherwise known as the Scorecard Killer, Kraft committed the rape, torture, and murder of 16 young men between 1972 and 1983 though it is theorised there are a further 51 victims. A lusciously dense instrumental paves the “one way trip to my own Hell”, leaving a lot of replay value for those wanting to discover every secret to this madness. In a bold move for CHURCH OF MISERY, we have a catchy vocal hook in “freeway madness” which becomes intoxicating as the track progresses. Filthy tones and full vocals bolster the seductive bassline to round out an altogether seductive piece of music.

While true crime reports of factual events, there is one case which remains a mystery: America’s first serial killer H.H Holmes. The subject of video game The Devil In Me (2022) and CHURCH OF MISERY’s Murder Castle Blues, Holmes confessed to an apparent 27 murders, yet was only convicted and executed for one. Reports of his nefarious activities had been greatly exaggerated, the titular murder castle being nothing more than a hotel Holmes had opened to commit insurance fraud. Though it’s more fun to talk about hotels with moving walls, a built in crematorium, and the proclivity for the owner to perhaps sell victims’ skeletons to medical schools. While we cannot fully comment on the validity of those claims, what we can confirm is this is a step away from the norm for CHURCH OF MISERY. Bluesy tones dominate the otherwise dark material. The solo deviates from the track’s otherwise monotonous instrumental, allowing the mind to wander elsewhere. While this is a wonderful playground for the imagination, we must admit these Murder Castle Blues last a little too long. If it’s more surprise you’re after, dear reader, look no further than Spoiler. The album’s shortest track at under six minutes feels more like an experimental jam session than anything else. Though it is nice to hear CHURCH OF MISERY being at least willing to step outside their confines. Technical solos and a rather maniacal organ make for an interesting listen but again overstays its welcome.

This is a phrase which could have been used for David Koresh; the leader of the Branch Davidians cult who perished during a 51 day siege against the FBI. Accused of arson, polygamy, stockpiling illegal firearms, and child sex abuse, Koresh is the subject of Come And Get Me Sucker, another CHURCH OF MISERY anthem. Full of swagger and a riff with a whiff of psychedelia, this has the potential to be one of the band’s greatest songs to date. The title leads a rather beefy chant – a taunt to the FBI. Before CHURCH OF MISERY goes in with all guns blazing (pardon the expression), a lighter guitar melody constructs the introduction, perhaps alluding to the charms Koresh displayed when recruiting his followers. In essence however, Come And Get Me Sucker may have the balls of a deluded cult leader, but not the allure it needs to carry. Hardly disappointing, just slightly wide of the mark. Perhaps not a term which could have been used for the Butcher Baker, Robert Hansen. CHURCH OF MISERY close with the tale of Alaska’s most notorious serial killer who would kidnap prostitutes, take them to his estate, then hunt them down with a Ruger Mini 14 in the wilderness. Butcher Baker has a much slower pace, mimicking that of a stalking predator. Though the main instrumental crawls through the nervous system tricking people into thinking there’s someone, or something, behind them. “I will hunt you down” ushers in a wonderful bouncing riff as the vocals once again reside in the lower register. Much like this killer, this closer is well thought out and methodical, a fitting end to an album such as this.

Bar the odd indulgent moment, something CHURCH OF MISERY and these serial killers have in common, Born Under A Mad Sign is a sublime album. It’s full of mystery and intrigue from beginning to end. There’s enough there to ensnare the armchair detectives and doom fans alike. Does this measure up to …And Then There Were None, the band’s strongest album to date? No. Though it doesn’t miss the benchmark by much. Small snagging items can often be the downfall, but this is a much welcome return for one of doom metal’s most prestigious bands.

Rating: 8/10

Born Under A Mad Sign is out now via Rise Above Records.

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