Dragged Into Sunlight
Hatred For Mankind
01. Boiled Angel/Buried With Leeches
02. Volcanic Birth
03. To Hieron
04. Lashed To The Grinder And Stoned To Death
05. I, Aurora
06. Totem Of Skulls
It’s November the 11th, 2011. It’s around 5pm and I’m at Damnation Festival, killing time inbetween bands. I’m drunk. Naturally.
And then the in-house music shuts off and the lights go down. The smoke machines begin to work overtime, pushing out gallon upon gallon of dry ice into the already cloudy room. Where there was only murmurs , an intro-tape suddenly lurches into life with a dry vinyl hiss and mechanical screeching jostling for space. I’ve never before seen such a large group of people snap into such a relentless concentration but all eyes are fixed expectantly on the cloudy haze that was once a stage.
At this point the only thing separating this from some kind of psychological torture scenario is the few sources of light emanating from the candles on stage. The buzzing and hissing becomes more violent. A metronomic low pulse pushes to the forefront, testing the ear drums of everyone present. Minutes go by whilst the endless aural abuse continues before suddenly 4 silhouettes make their way onto the stage and face away from the crowd.
‘It pleases me to serve you‘
Launching straight into the sludgey start of ‘Boiled Angel‘ they force together trashy drums, Portal style guitars and liberal amounts of feedback by mixing the best elements of Eyehategod, Entombed, Coffinworm and early Mayhem. Dragged Into Sunlight manage to create a lumbering monstrosity of sound that picks and chooses it’s influences without ever really crossing the border into disjointedness. Even the appearance of Charles Manson’s famous ‘Sneaky-ville Speech’ feels entirely necessary, alongside the inhuman vocals of a man known only as T, it brings the whole song to an unnerving level of reality that feels way too close to home.
“Buried With Leeches” and “Volcanic Birth” take a slight different approach in that much of the time is focused on faster tempos with elements of both black and death metal vying for space. The use of blastbeats is more along the lines of the swirling tempest that accompany the faster sections from bands such as Mitochondrion or Ulcerate, however Dragged Into Sunlight manage to set themselves apart from those bands not overdoing it. Large sections of both tracks could easily have become a blur but drummer J toys with styles that bring to life both slow swamp trudges and monotone blasts.
Unsurprisingly, Hatred For Mankind is a draining record — you just can’t listen to this kind of distilled hatred every day. It’s unfortunate but this aptly titled 50 minute collection of doom, black and death can sometimes cross the border into incomprehensible noise if you’re not giving it your full attention. Overall though, Dragged Into Sunlight have created a challenging but rewarding listen that demands your time and that’s as interesting as it is unsettling, much like the aforementioned Mitochondrion it creates a tar thick atmosphere that they effortlessly recreate live and that feels entirely unique. Whilst I may be late off the mark for this 2009 reissue, I’m glad I found it even under the strange circumstances…
And they were gone as suddenly as they appeared. Never once gracing us with their hateful gaze.
The strobe light blinks out and the smoke machines pause for breath. The room carries on their business and order is restored…
Dragged Into Sunlight’s Hatred For Mankind gets…