This bombastically titled album from Alaskan band Yaldabaoth ’is a study of disgust, contempt, and mockery for all of religion’s existential justifications. The frenzied fury of the opening track “Fecund Godhead Deconstruction” puts us well and truly in the mood.

This is an angry affair. Blackened death is the chosen weapon, with heaps of technicality, resulting in a complex mass. Hectic drumming matches growling guitar work and ever rising mists of fury. “Megas Archon 365” is the second assault of the album. High end in its obscurity but with sharp sound, it pummels and pounds and destroys. “Gomorrhan Grave of the Sodomite” takes a different tack by crawling through the catacombs to start. The heaviness is measured, but the storm builds up and the air is filled with turbulence and hints of chaos. The atmosphere smoothly transforms. The sound suggests epic catastrophe. Cleverly this is followed by the rancid “To Neither Rot nor Decay”. It’s like being invited to your own funeral. The drum beats darkly. The choral sound is distant. There’s a hint of post metal about it. After the roaring battle which dominates the earlier part of the album, the world becomes more complex and sinister. The title track spews out meanness. The patterns are complex. The mood is unspeakably dark. Semblances of life return finally with “Mock Divine Fury”. Yaldaboath breathe fire once more. Explosively and ferociously, the ante is upped with this exciting and frenetic technical track. There’s a captivating atmospheric section towards the end of this ball of blackened energy. It’s a good and climactic way to end.

Tight musicianship and sharp sound quality are hallmarks of this album. “That Which Whets the Saccharine Palate” exudes blackened death. It has maturity about it, but I don’t think it’s an album that I will remember as a whole.

(7/10 Andrew Doherty)

https://yldbth.bandcamp.com

https://www.aestheticdeath.com/releases.php?mode=singleitem&albumid=4518