Goath — IV: Silencing The Prophets of Deceit

ByKristian Hours

Goath, Germany’s conjurers of Blackened Chaos since 2015, unleashed their fourth full-length, “IV: Silencing The Prophets of Deceit,” through Ván Records on May 30 and Chaos Records on June 6, 2025. A must for devotees of Belphegor, Archgoat, and Blasphemy.

Goath, IV: Silencing The Prophets of Deceit Review: This review will evaluate every aspect of the album, from its intricate musical composition to its production. Our analysis will provide valuable insights to help you determine if this album is worth adding to your collection.

The First Three Sins, The Summary

The First Sin, The Strings/Keys: Unleashes jagged tremolo riffs collide with death metal chugging, summoning chaos. Bass lines drag through the mire, thick and punishing—weighty as ritual stone. The Second Sin, The Vocals: Guttural roars clash with shrieks, echoing like sermons from a shattered altar. Every vocal line feels like a curse etched in blood. The Third Sin—The Percussions: Blast beats and ceremonial rhythms crash forward. Drums conjure visions of ancient wars, each strike like a hammer against heaven.

The Fourth Sin, Overall Discussion

Opening Invocation of Chaos

The moment Where He Takes Me crackles to life, a surge of raw energy that pulls the listener right into the middle of chaos. Starting with a short, almost ritualistic invocation — an eerie whisper or chant that hints at something dark and powerful. Then, suddenly, everything erupts in a maelstrom of sound.

From there, the remaining ten pieces lay siege to the senses with brutal force.

Twin Sisters of Ruin

Goath conjures a devastating hybrid of extreme metal’s two fiercest sisters — death metal and black metal — citing unholy inspiration from Deicide, Morbid Angel, Mayhem, and Blasphemy. It’s not simply noise; it’s a destructive force that commits a sonic assault and refuses reconciliation. Songs like Silencing the Prophets of Deceit relentlessly crush and erode emotional and mental barriers. They flood the ears and invade the soul, pressing until the last droplet of note and lyric fades into darkness.

It’s an experience that leaves behind an echo of chaos that lingers long after the final chord.

Decay & Precision in the Production

The entire album is captured in a recording and production that’s wrapped in perfection, where the mix is perfect in its own brutal way — raw yet meticulously crafted. It’s not polished for comfort or mainstream appeal; it’s designed to hit hard and stay with you. Underground grit fuses with ritualistic clarity, creating a sound that feels both primitive and precise. Every tiny detail is sharp and clear — shimmering cymbals piercing through the chaos, guttural invocations that sound like summons from another realm, serrated chords that cut deep into the mind, and tectonic shifts in the low-end that shake your bones.

This devilish devilmanship wrought to perfection — designed not just to entertain, but to evoke primal fear and awe.

Infernal Riffs & Guest Blades of Chaos

IV: Silencing the Prophets of Deceit stands as a dark forbidden fruit of art — a piece of art that drips with malevolence. It offers the listener a glimpse into a world where music becomes a vessel for raw evil, channelling chaos with surgical precision. The primary guitarist, Goathhammer, unleashes relentless, jagged riffs that blend blackened tremolo picking with heavy death metal chugging. His tone is feral, serrated, almost wild in its attack, yet controlled enough to craft moments of ritualistic phrasing that feel like incantations. His riffs snowball into chaos — layered and chaotic at times, precise and deliberate at others, like a ritual meant to summon dread.

Guest contributions: Segej Durkart contributes both guitar work on tracks, Beneath the Scum and Coitus Eden and unleashes an epic, soul-shattering solo on Schwefeltaufe. His solo cuts through the mix like a blade, adding a layer of feral chaos that only amplifies the album’s dark landscape.

Drums of Ancient War

Drummer Serrator lays down a relentless barrage of blast beats, shifting tempo with ease. His aggressive fills and ritualistic rhythms evoke images of ancient wars, with a feral energy that’s both wild and precise. From warlike assault to ceremonial pacing, his drumming creates a heartbeat for the chaos. Cymbals shimmer and crash like collapsing heavens; they smash with force, as if tearing the skies apart. His percussion pushes the album forward, creating a sense of a continuous storm.

Vocals from the Altar

Victor handles both vocals and bass, adding his own hellish touch. His bass is thick and punishing, often shadowing the guitars to add weight to the chaos. At times, it breaks free, offering a grimy groove that grounds the relentless assault. His vocals — shared with Goathhammer — range from guttural roars to high blackened shrieks, echoing like screams from a collapsing altar. They are buried deep in the mix, often drenched in reverb and distortion, making the vocals feel like sermons screamed from a broken, haunted altar.

Sonic Purge and Final Curse

Overall, the album feels like a sonic purge — a violent, ritualistic cleansing of the senses. It’s steeped in underground tradition, built entirely on brutality. It’s more than mere music; it’s a dark, blood-soaked fruit of art — a raw expression of chaos and darkness.

Ultimately, it’s crafted for those who crave the purest form of brutality, rejecting any form of light or comfort, no synths, no atmospheric break, no compromises — just pure chaos unleashed from a forge of fire and sweat.

Final Benediction: The Last Three Sins & End of the Ritual

As the final echoes of IV: Silencing the Prophets of Deceit fade into shadow, we offer our thanks to Chaos Records for granting us the chance to descend into Goath’s sonic abyss. Now, as we prepare to unveil the last three sins, we draw this blood-drenched liturgy to a close.

The Fifth Sin, The Memorabilia

For me, IV: Silencing the Prophets of Deceit, there’s no pretty music here; it’s heavy, intense, and rotten to the core. The underground nature adds to its forbidden and decaying appeal, like a secret that’s meant for those brave enough to listen. Furthermore, the music is violent in its honesty, heavy in its weight, and carries an intensity that stings deep. This quality is what makes it compelling—its refusal to sugarcoat, its raw power, and its dark roots that refuse to fade.

Goath — IV: Silencing The Prophets of Deceit

The Sixth Sin, The Artwork

This piece pulses with agony and defiance. A grotesque act of self-unraveling, bathed in blood and clawed torment, it serves as a visual incantation—a mirror to the album’s sonic violence and ritualistic core.

The Seventh Sin, Disrelish

Disrelish implies rejection, but Goath’s IV: Silencing the Prophets of Deceit offers no room for refusal. Its world is carved from chaos and consecrated in pain. This is not an album to be enjoyed—it is to be endured, absorbed like penance. Each track wields punishment as purpose, demanding submission, not admiration. To step away from this sonic scourge is to flee from revelation. Within these hymns, suffering becomes scripture. Thus, we conclude our review of IV: Silencing the Prophets of Deceit. I recommend you check out more from Goath and, of course, Chaos Records and Ván Records.

The Hymns

01. Wherever He Takes Me
02. Silencing the Prophets of Deceit
03. Beneath The Scum
04. The Swarm
05. The Rivers Will Be Red
06. Cult Of Demise
07. Coitus Eden
08. Dogs Of Heaven
09. Say It With A Knife
10. Bite The Hand
11. Schwefeltaufe

Goath

Serrator — Drums
Victor — Bass, Vox
Goathhammer — Guitar, Vox

Hear The Music