This is the fourth album by the decade old Californian band, but the first where Trevor isn’t playing all the instruments, as he is joined for the second time by vocalist Stevie, with drummer Robin and bassist Igor both debuting.
The short instrumental “Summoning” opens the album, the guitars get progressively heavier once the drums accompany them and end things with a lead break that flows straight into “The Throes of Agony” where the abrasive vocals are matched by the blistering blast beats giving the song the black metal bravado it requires.
Acoustic guitars make way for heavily distorted ones to give “The Consort” the crushing presence needed to carry the vocals over the rolling drums, while the clean vocals add another element and a touch of finesse.
There are pieces of “The Barrister” which are bluesy and mellow, while the vocals never veer far from aggressive contrasting completely from the melody.
Picking up the pace with the vocals flicking between growls and rasps, “The Physician” also merges melodic guitars with rapid fire drumming, along with having the guitars at full ferocity for a wall of sound.
Feeling like it may be ballad-like, “The Courtesan” shatters that illusion as soon as all the instruments kick in at full pace with the slower cadence of the vocals accentuating the tremoloing of the guitars, but it’s the haunting delivery of the clean vocals that stand out.
The atmospheric guitars of the intro on “The Disciple” are replaced by angry riffs once the vocals come to the fore filled with angst and torment to make the screaming lead break sound all the sweeter.
Not terribly fast but starting w/ rather crisp death growls tinged with a black metal rasp, the clean vocals on “The Neophyte” are a complete contrast and almost lullaby like before they descent once more into muted whispers over a steady strumming over melodic guitars and an even drum tempo.
The longest song on the album, “Animus Nocendi” goes from sounding like it’s being played at the bottom of a well, to with you encased in the kick drum as the triplets pile up. After that the song maintains a steady pace as it flows along, with the odd timing change to keep things interesting.
The bonus track “Knives” is short and sharp (sorry, couldn’t resist) and fitting way to end the album.
The album blends the best of both black and death metal while never allowing one to overpower the other, making it a truly enjoyable listening experience.
(7/10 Marco Gaminara)
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