I quite enjoyed this Norwegian band’s previous album, ‘Temple Of The Adversarial Fire’ which I reviewed for the site back in 2017. I suspect the reason behind the inconsistent release rate is down to a couple of members being in multiple other acts but it could be down to just releasing material when it suits the band. Either way this third full length follows on from the foundations and groundwork laid down on the sophomore I’ve mentioned but adds considerably more tribalism to the song writing. Added to that there has been a shift in the vocal slightly to be more theatrical with wide variations in tone and emotive prowess.
You’d be forgiven for thinking that the opening tune, ‘Call To Prayer’, was similar to some early Burzum material due to the lightly added keyboard before the opaque death metal thrust smartly swipes it aside. In my review of the last album I mentioned Immolation as a reference point for the band’s style and that remains true here too, though the increase in density and overall atmospherics is where the bands differ marginally. The opener is slow and pervading and contrasts with the colossal onslaught of ‘The Midnight Sentinel’ where we are subjected to sporadic blast sections all enhanced by the vocals which have a tone similar to Nergal from Behemoth. In some respects the band has quite a bit of similarity to the Polish pulverisers, with sweeping blast beats, copious riff changes and complex time signature arrangements.
‘Blood Covenant’ marks the end of the first section of the album and is slightly longer, before a short bridging piece, as the tune unleashes a tornadic riff assault alongside an opening chainsaw guitar sound. As it progresses it diverts into far more tribalistic realms with clean vocals that verge on a narration or spoken style but adds considerable gravitas to the song’s aura. Said bridging piece is less than a minute and serves to section the album into sort of chapters before the much longer ‘The Voiceless Call’ appears via an isolated guitar intro section. You know there’s to be a detonation but not before the vocals take on an ethereal persona drifting on the mix like a ghoulish echo on a bitter winter’s night. That introduction is wonderfully executed and affords the song a sense of drama before the death metal demolition smashes in. I particularly like the production on this album, due to its overarching dread filled terror but ensures every instrument is fully focused when required as the constant changes in violence intensify the song hugely.
‘Apotheosis’ is another interlude and paves the way for the next chapter of the album beginning with ‘Blade Of Malediction’ and instantly the majestic ferocity is pummelled into the listener as the vocals take on a multifaceted approach with clean shouts, deep resonating growls and occasional screeches adding to the overall charisma. ‘The Impulse Of Rebellion’ is much slower, cavernous vocals abound alongside the unhinged guitar work that is wondrously creepy. The gently added spoken narrated vocal line is sinisterly done and hooks into the clean vocal shouts that have a slight chant ethos.
The final bridging tune is ‘When Blood Becomes Fire’ and is slightly more complex and longer with a morose air before leading into the gargantuan eight minute closer titled ‘For His Eyes Of Judgement Are Forever Upon You’. The initial spoken vocal adds to the theatre of the song’s opening sequence as it quickly switches into a straight up deathly onslaught. For some reason I scribbled down Execration, also from Norway, as another band similar to Shaarimoth and whilst the theatrics are far more obvious on Shaarimoth the intrinsic sonic impenetrability is very comparable. I especially appreciated the constantly evolving tempos with blasted excerpts blending with the slower more pervasive aspects of the closer especially in its second half which lays on more dramatic flair that continues towards its conclusion.
An excellent return to the extreme metal stage from Shaarimoth with an album teeming with brutal ingenuity and extravagant sonic agility.
(9/10 Martin Harris)
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