Necrom are a somewhat unlikely Ukrainian supergroup, comprising members past and present of Nokturnal Mortum, Elderblood and Grave Circles to name but a few. They’ve undergone several line-up changes since their rather good 2019 demo, notably Roman Saenko left to likely spend time refining the new Drudkh album prior to release later this year.

Before delving into the music, we need to address the elephant in the room; racism within the Ukrainian metal scene (and indeed Ukraine itself). Whilst absolutely nowhere near a scale that could justify Mad Vlad’s illegal invasion in the name of “denazification”, it’s a problem with which some members of this band (past and present) remain sadly entwined. Statements which distance oneself from racist lyrics and actions from earlier in your career aren’t good enough, as actions speak louder than words. If you continue to accept or excuse racist behaviour or ideologies from co-workers and promoters, then you’re still part of the problem, and also a bit of a cunt.

Contrary to their assumed black metal “day jobs”, Necrom dabble in the grandeur of old school death metal. More specifically they ape the sound of the early 90’s Stockholm scene, indeed the title itself appears to be a not-so-subtle nod to Entombed’s 1990 debut album, whilst the lyrics are obsessed with literary and cinematic horror. Despite frankly ridiculous pseudonyms such as “Visions at Radiant Galactic Gates of Torturous Harmonies” and “Ancient Starlit Tombs and Raging Ghoulish Hordes” (masking the everyday names of Ievgen and Andrii), this isn’t a parody album (if it was, then “I Can’t Believe It’s Not Swedish” would’ve been a great name!), rather it’s an authentic, top quality tribute to classic sounds.

As you’d expect, it’s a lot more polished than the demo. The three songs from that release are given a rework here, a bit of sheen that beefs up the HM2 pedal tones quite considerably. Whilst unmistakably nostalgic, Necrom also maintain a modern urgency in their song composition that keeps with the Swedish theme by showcasing contemporary elements of Rogga Johanson-esque flair. The old masters still loom huge over this album though…

“Fathers Will Feast” is a yarn worthy of Dismember, with an unmistakable Estby style groove. “Food for Worms” takes a slight geographical detour to Gothenberg with a riff that At The Gates would die for, before the brooding, doom laden riff that underpins “The Oldest Horror” brings us firmly back into Dismember territory, resplendent with churchyard bells and haunting synths alongside the juggernaut guitar work.

There’s a more pronounced atmospheric synth that introduces “Walls Have Hands”, and we get some classic Entombed style death n’ roll riffage on “The City The Old Ones Built” and “The Light Has Never Been Here”. ”Templars Are Coming” begins with ascending chug-a-thon of a riff, before a gargantuan tremolo picked harmony takes us elsewhere with sonics reminiscent of Rogga vehicle The Grotesquery.

A fantastically enjoyable album that’s worth repeated listens. Undoubtedly these guys have a head for riffs and aren’t afraid of peeling off some soaring lead work when the occasion calls for it. Hail to Sweden, and SLAVA UKRAINI!!! 

(8/10 Doogz)

https://www.facebook.com/necromofficial

https://osmoseproductions.bandcamp.com/album/all-paths-are-left-here