I was very lucky and extremely pleased to have seen this Brazilian band play Inferno Festival a couple of years ago giving me call to check them out fully. This album is the bands sixth but the first in three years since the excellent “Individualism” in 2014. This band is one of the true underground elite, releasing awesome albums that show no signs of waning as this opens with “Infidels” and immediately a grandiose and wholly absorbing sound blankets the listener. The guitar hook adornment is situated perfectly retaining a modicum of melody until the track sinks into the vocals. More ambitious is “Axis” which starts with a creepy intro piece and growled speech as the riff enters and a bombardment of drums catapults from the speakers. The following riff is fantastic, steeped in violence but possessing an inherent catchiness that links nicely into “Heartless”. The cohesion and fluidity of the songs from one to another is first rate as the song detonates in full blackened malice.

“Communion” starts wonderfully, setting the scene with a gentle riff and melody, unloading its charismatic aura on the listener before schizophrenically devolving into something far more sinister but maintaining a slower more deliberate pace. This track struck a deep cord with me, its rolling emotive delivery is exceptionally melodic but still has that feel of corruptive nihilism. There’s a slight symphonic arrangement to “Now I Bleed” which filters in via various effects and symphonics and wouldn’t be remiss on an epic fantasy film. The song quickly explodes with a crashing riff and a similar feel to Italian death metallers Fleshgod Apocalypse due to the symphonics, which are quickly eroded to leave the shattered bone brittle skeleton underneath. With that said those keyboard elements hover around creating tension as the track evolves around swirling guitar riffs and the superb drum performance which I completely love about this album.

In places you can hear the tenets of punk riffing, similar to Carpathian Forest as “Arsonist” has one of those really infectious riffs you can’t get out of your head. Preferring to keep the pace steady there is a black ‘n’ roll feel that is interlaced with sporadic speed violence similar to newer Marduk material though this album is uniquely Patria. It is the more ambitious tunes that really hooked me like “Porcelain Idols” which has an atmospheric start with varied vocals and a fabulous riff hook. The song diverts through a variety of guises utilising sublime guitar hooks and an ability to maintain an ominous feel that is almost palpable. The title track closes this release as an outro piece and listens like the calm after the storm which works perfectly.

Black metal has taken on various guises over the last decade but one thing is for sure Patria are purist black metal scorn, riddled with sonic defilement via songs of high ambition with spectacular results.

(9/10 Martin Harris)

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