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Meads Of Asphodel - 'The Murder Of Jesus The Jew'

About.com Rating 4.5 Star Rating


Murder Of Jesus The Jew

The Meads Of Asphodel - The Murder Of Jesus The Jew

Candlelight Records

The Bottom Line

Experimental black metal band really surprises and pushes the genre’s boundaries.
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  • Very accessible with memorable melodies.
  • A lot of variation between each song.
  • Great lyrics and story concept.


  • Gets too elaborate and overwhelming in parts.


  • Released January 11, 2011 on Candlelight Records.
  • The band’s third release.
  • Meads Of Asphodel hail from the UK.

Guide Review - Meads Of Asphodel - 'The Murder Of Jesus The Jew'

UK experimental black metal band of medieval warriors, The Meads of Asphodel, create some epic and majestic compositions. The Brits third release, The Murder of Jesus the Jew, is a concept album based on the life of Christ. The album features guest appearances by Hoest of Taake and Vincent Crowley of Acheron.

Their English quirkiness is mixed together with punk undertones and old school black metal, while experimenting with symphonic, orchestral, Middle Eastern and folk elements. The use of violin, trumpet, flute, cello and oboe gives the album an eclectic and interesting slant to their sound. The Meads of Asphodel definitely can’t be pigeonholed as strictly a black metal band — their sound has many different shades.

The guitar leads have that barbaric reverb of old school black metal, but there’s also a lot of melodic variation going on in each of the 12 tracks. Metatron’s anti-Christian lyrics are historical and accurate. He’s even posted in-depth descriptions with each song’s lyrics on their website. It’s an exhausting read, but a fascinating history lesson from the singer.

After the brief spoken word introduction, the minstrel melody unfolds with the instrumental “Boiled in Hell Broth and Grave Dust.” The first proper song, “My Psychotic Sand Deity” immediately unleashes with an old school black metal fury, while not forsaking melody with keyboards and an acoustic interlude. The harsh agonizing bellows of vocalist Metatron is hurled at you menacingly, then segues into a surprisingly beautiful female vocal verse.

“Addicted to God’s” warm, operatic choir trade-off section is juxtaposed with fierce, cold black metal riffs. “Genesis of Death” is probably the most epic and experimental of the bunch. At 9:04, it weaves acoustic passages, melodious space rock guitar leads, trippy keyboards and rock opera vocals. Once again, the female vocals of Elle Torry sound brilliant, and add to the diverse atmosphere of the album.

The Murder of Jesus the Jew boasts one of the longest song titles in metal history: “A Canticle for the Lost Amputees of Aelia Capitolina Who Have Been Trampled Under the Iron Shod Hooves of Salivating Hell Rams and Impaled on the Shimmering Tusks of Salvation Within the Abandoned Tabernacle of a Bronze Age Yyth.” It’s a climactic ending to a grandiose album.

The Meads of Asphodel have come up with an interesting formula that is innovative and enjoyable, while still pleasing the old school black metal fans. The Murder of Jesus the Jew has so much to offer, even the most scrutinizing of metalheads should find it hard not to like something about it.

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Disclosure: A review copy was provided by the publisher. For more information, please see our Ethics Policy.
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