As in preceding track Ball of Molten Lead, Exorcism of the Host begins with a tolling bell. Somebody says something through backmasking. Scheidt roars. Drums crash. Guitars hammer in with a weird, harsh, descending riff full of chromatics. This is funeral doom (for those not in the know: think of a dirge) and the most mournful track Yob had penned to this date. The momentum of prior track, Ball of Molten Lead, is misleading – it really doesn’t carry through, although this isn’t necessarily a bad thing. Although there is some pace in the ‘verses’ and ‘choruses’, including a great, clean, solemn guitar solo at 8.30, Exorcism of The Host still averages a bpm of 44 and is heavily repetitive, leading to two thoughts:
1) The exorcism in question is an auditory one, created through the repetition of the aforementioned hammering riff for seven and a half minutes, until heaving into a riff of concrete after nine minutes and finishing on a scream best described as ‘painful’. This matches the lyrics, which invert the usual concept of exorcism by placing organised religion as the evil that needs to be cast out and away from humanity:
Oil and water
Fuel for the slaughter
Breeds remorse and breeds regret
The false prophets scream their disease
2) What separates this – and there certainly is something that does – from more average funeral doom bands, who also rely on extensive repetition? More specifically, what if these bands were made to go acoustic, as a kind of litmus test? This is a bit of an unfair question, as being amplified is clearly part of most doom bands’ sound, but bear with this idea; would their riffs and song writing still function without spiralling feedback, decibels and distortion? Going out on a limb, I’d say that for Yob the answer is yes, and that certainly wouldn’t be the answer for a couple of big bands I can think of. Despite the heft of this track, maybe this is because Yob don’t sound like a doom band whose only direct influences are other doom bands.