DISCOG DISSECTION: Miscreance, "From Convergence to Reminiscence"

🔱 Artist: Miscreance (Italy) 🇮
⚙️ Genre: Technical/progressive thrash-death metal
💿 Studio albums ranked: 2
 
📝 This is a personal deep dive into Miscreance's catalogue following the release of “Reminiscence”, their second full-length album on the 28^{th of} August 2026 via Season of Mist.

 

For the uninitiated, Miscreance occupy the space between technical thrash metal and death metal, drawing heavily from classic acts such as Death while incorporating progressive songwriting and unusual rhythmic ideas that give their music a distinctive identity.
 
The one thing I remembered from first hearing Miscreance was a drive home from Newcastle to Sheffield a few years ago. At the time, the music struck me as off-kilter and somewhat incongruent. For me, the riffing and vocals didn't quite seem to fit together naturally and, while I found it interesting, it never fully clicked. I eventually moved on and largely forgot about the band.
 
Given that experience, I was somewhat sceptical about spending time with “Reminiscence”. Thankfully, I did.  My immediate reaction was that it sounded like classic-era Death filtered through Miscreance's own technical and progressive approach. The more I listened, the more hooked I became.
 
Admittedly, I only really got into Death last years, so revisiting Miscreance's catalogue after spending more time with that style of metal made me hear the band very differently. A lot of the influences and ideas that had previously passed me by suddenly became obvious. What once sounded awkward or unusual now felt purposeful and incredibly well-crafted.  As a result, I found myself appreciating both albums far more than I expected.
 
The listening statistics below provide some additional context, although the extra time spent exploring newer releases will inevitably be reflected in the play counts. Honestly though, Miscreance are an incredible band, and “Reminiscence” is firmly in contention for one of the best metal albums of the year. I'd strongly recommend checking them out, and I enjoyed the record so much, I even bought a cd.

 

📊 Ranking

 
 
💿 2 — “Convergence” (2022)
💿 1 — “Reminiscence” (2026)

🎧 Miscreance listening stats during this deep dive (since the release of "Reminiscence":

 

• Total plays: 168
 
• “Reminiscence” (2026) — 107 plays
• “Convergence” (2022) — 61 plays
 
🔥 Top tracks:
 
• Oracle's Rift (“Reminiscence”) — 12 plays
• Alchemy (“Convergence”) — 8 plays

 

 
❓ Are you a fan of this band?
💬 How would you rank these?
👇 What's your favourite?

ALBUM REVIEW: Black Tusk, "The Way Forward"

 By: Richard Maw
 
Album Type: Full Length
Date Released: 26^th April 2024
Label: Season of Mist

“The Way Forward” CD//DD//LP track listing:
 
1). Out Of Grasp
2). Brushfire
3). Harness (The Alchemist)
4). Lessons Through Deception
5). Breath Of Life
6). Dance On Your Grave
7). Against The Undertow
8). Lift Yourself
9). Ocean Of Obsidian
10). Flee From Dawn
11). The Way Forward
 
 
The Review:

Black Tusk are back with another very noisy 35 minutes of punky, sludgy, speedy goodness. These Savannah veterans have been around for some time now and have even survived the tragic death of original bassist/vocalist Jonathan Athon.
 
Since Athon’s last appearance on the “Pillars of Ash” record, we have had a new line-up put forth “Taking Care of Business”, a b-sides comp and now “The Way Forward”. Black Tusk are best compared to an early Mastodon with prevalent punk influences or a punk Baroness without dynamics or texture. If that sounds like your thing- and you’ve never heard the band- you’ll love this.
 
The sound is raw, loud, fast and in your face. The songs are short and to the point; eleven tracks and the first three blaze by with “Harness (The Alchemist)” being my pick of the opening trio with its Motorhead pacing and attitude. Having solidified as a four piece line up, the guitars do more- more interplay and more weight. The drums and bass rumble and thrash very convincingly and the whole effect is gnarly, noisy and absolutely over the top.
 
As the album goes on, the band is taking care of business in the way they know best: as usual. There are no great surprises, no huge changes of direction. While the riffage of “Breath of Life” may reference Fu Manchu, Black Tusk are a much more frenetic kind of beast; revved up and turbo charged.
 
There’s nothing weak here, nothing wasted either. It is exactly what you expect it to be and it is what it is when you first hear it. Perhaps the highest compliment I can pay here is that “The Way Forward” is real! What you hear is what was played. It sounds live and reckless and full of energy. No sound replacements or overproduction- just a tight band playing as hard as they can- kind of like a modern spin on Black Flag mixed up with any of the bands previously mentioned.
 
Truthfully, you can press play on any track here and know EXACTLY what the band is about. “Dance On Your Grave” is great and full on, but I could say that about “Against The Undertow” or “Lift Yourself” or.. any song.
 
Yep, Black Tusk have done it again- they continue to produce noisy and totally committed music in the most unfussy and direct fashion. With the way things are going, we need Black Tusk more than ever. Essential.
 
“The Way Forward” is available HERE

Band info: bandcamp || facebook

ALBUM REVIEW: Septicflesh, “Infernus Sinfonica MMXIX”

By: Peter Morsellino

 

Album Type: Live Album

Date Released: 31/07/2020

Label: Season of Mist

 

“Infernus Sinfonica MMXIX” CD//DD//LP//DVD/BluRay track listing:

 

1. Intro
2. Portrait of a Headless Man
3. Martyr
4. Prototype
5. The Pyramid God
6. The Enemy of Truth
7. Communion
8. The Vampire from Nazareth
9. Dogma of Prometheus
10. Lovecraft's Death
11. Dante's Inferno
12. Persepolis
13. A Great Mass of Death
14. Anubis
15. Dark Art 

 

The Review:

 

In 2019, Septicflesh embarked on a journey to Mexico for a single night of symphonic glory.  Accompanied by the Toluca Philharmonic Orchestra, the magical night served as a highlight of the band's illustrious career. “Infernus Sinfonica MMXIX” documents that night for all to experience in its full majesty.

 

Available both on audio in CD and Vinyl formats and as a full length concert video, Septicflesh grant access to those outside of the lucky few in attendance to bear witness to a phenomenal performance by one of the world's premier Symphonic Death Metal acts. While live albums have historically been a point of contention within the community of music fans, I believe that this album does its job in spades of documenting a once in a lifetime experience.

 

The mix is fantastic, providing both the band and orchestra ample space to move and breath, creating a wonderful sonic experience. The performance is as tight as can be expected, serving listeners with a magnificent collection of performances of the band's greatest work.  With such quality in one place, this album can be used as a jumping off point for Septicflesh just as equally as a collection piece for uberfan.

 

If available to you, I would have to recommend the concert video over the audio recording, but only as a preference of mine. The video recreates the experience in its whole, whereas the audio falls to the same trappings as many live recordings, with stage banter and hype work distracting from the audio experience.  While audible in the recording, the video also documents the absolutely spellbound audience, who lend themselves heavily to the performances energy.

 

All in all the performance is amazing, and despite my nitpicking, I would recommend either format to both new and veteran fans alike. Check it out. Experience this once in a lifetime event for yourself.

 

“Infernus Sinfonica MMXIX” is available HERE

Band info: facebook

ALBUM REVIEW: Thy Catafalque, "Naiv"

By: Thomas Gonzales

Album Type: Full Length

Date Released: 24/01/2020

Label: Season of Mist

“Naiv” CD//DD//LP track listing:

1. A bolyongás ideje (4:55)

2. Tsitsushka (5:39)

3. Embersólyom (4:17)

4. Számtalan színek (2:34)

5. A valóság kazamatái (5:30)

6. Kék madár (Négy kép) (6:27)

7. Napút (3:48)

8. Vető (8:17)

9. Szélvész (5:36)

The Review:

Self-labeled Avante Garde solo artist Tamas Katai brings yet another evolution to the ever-changing stylings of his opus Thy Catafalque. While not a “band” in the traditional sense, Thy Catafalque’s latest release “Naiv”, is an ensemble of musicians showcasing no less than 10 guest artists. Tamas once again shifts the dynamic of underground metal, covering a wide array of genres, including Black Metal, Folk, Electronic, and even Pop. Under his band’s moniker, Tamas has woven a diverse tapestry of sound, into a colorful exploration of sonic ingenuity, communicating why Thy Catafalque is such a prolific force in the metal consciousness.

Opening strong with the track “A bolyongás ideje”, Thy Catafalque’s roots in Black Metal are put on full display in a hauntingly dark jam, befitting of an extreme metal veteran. However, it isn’t long before the listener is swept up in Hungarian Folk instruments and jazz inspired hooks, shifting seamlessly through various genres, before peaking with electronic sections and Pop sensibilities; then once again giving way to his brand of Blackened Folk Metal. 

Track 8 “Veto” is a whopping 8 minutes long, and begins with a conventional metal hook, but eventually transitions to a chilled-out post rock bop, complete with twinkling synth effects, and droning keyboard tones. It is as frenetic as it sounds, but it is pieces like this that showcase the variety and cultural influences of Tamas’ compositions. Folk drums and flutes weave amongst Hungarian choral singers before ultimately culminating in an intense melodic burst of metal. There’s a little something for everyone, and if you wanted to cover the spectrum of sounds present here-in, this is the track to share.

Getting their start in the late 90s, Thy Catafalque’s current sound is far beyond simple experimentation, “Naiv” is a fascinating study of traditional songwriting paired with Black Metal, that is dynamic and diverse enough to stand out in the field of their Progressive and Avante Garde peers, but it still be enjoyed by their long-time fans seeking something a heavier.

Thy Catafalque do not pretend to create “easy” listening music, but instead stay true to the artistic vision with which they approach each project. This is not an album that someone can pick or choose a single from and find satisfaction, but it is instead meant to be heard as a cohesive concept. While it may take some listeners multiple attempts, those who are vigilant will be rewarded with a unique and fulfilling experience that transcends the scope of conventional songwriting.

“Naiv” is available HERE

Band info: Bandcamp || facebook

ALBUM REVIEW: Nero di Marte, "Immoto"

By: Peter Morsellino 

Album Type: Full Length

Date Released: 24/01/2020

Label: Season of Mist

“Immoto” CD//DD//LP track listing:

1). Sisyphos

2). L’Arca

3). Immoto

4). Semicerchi

5). La Casa del Diavolo

6). Irradia

7). La Fuga

The Review:

I don't know what you'll want to call this beast.  Words like progressive, post, grind, djent; they will all be thrown around in discussions about it.  But none of that is important. Words can't really describe the sound of this album, but I'll try my best to prepare you for it.

Nero di Marte's third album hits on many levels. Its heavy, its complex, it's a thing of beauty.  Impossibly technical rhythms pepper this album, backing up a jazzy blend of noodling, crunchy riffs, and some very interesting vocal patterns.  Comparisons will be made to Animals as Leaders, yet this is nowhere near good enough. “Immoto” is a thing all its own, and it needs to be consumed as such. 

A very dense and somewhat frightening atmosphere hangs over the album as a whole.  It puts you into the middle of the music and grabs on to you emotionally. I think that this is what will separate Nero di Marte from their contemporaries in technical metal music. There is a personal connection that helps you feel connected to the sound personally. This isn't mile a minute speed jazz for you to try and fail to tap your foot to. This is a visceral experience. This is a sound that will sink into you and take you wherever it's going, and you had better hang on lest you be left behind.

I'm trying to keep this brief, as it is very difficult to explain without you having listened to it already. Give it a play. Let it consume you. Let the riffs crush you to the ground. Let the rhythms tear you apart while the atmospheres hold you together.  Let the vocals take you on their magical journey through the "motionless, transformative place within (you)," as the band themselves put it.  Let it speak for itself. I hope you enjoy, I know that I did.

“Immoto” is available HERE

Band info: facebook || bandcamp

REVIEW: Wormed, "Metaportal" EP

By: Eeli Helin

Album Type: EP

Date Released: 19/07/2019

Label: Season of Mist

“Metaportal” CD/DD track listing:

1. Remote Void

2. Cryptoubiquity

3. Bionic Relic

4. E-Xystem://CE

The Review:

It's always an extremely tough spot to lose someone. Every single one of us knows the mental weight and physical toll it takes to pull through it. When it comes to handling such a thing, there are no winners or losers, there is not a right or wrong way to deal with it, granted that some of the natural coping mechanisms written to our code might do more harm than good in the greater scheme of things. Experiencing something first hand is also always harder, and you can't even begin to imagine how someone else treats those feelings. Transferring these instances to the world of music, it's always untold what'll happen if a band loses one of it's members. It can go multiple ways, and we as an audience have to respect that decision.

This scenario sadly came to reality with the Spanish sci-fi tech death group Wormed last year, when they lost their drummer G-Calero, whose outstanding performance can be heard on their latest full-length, 2016's "Krighsu". Soon after the news broke, Wormed announced that they will continue their trek to the unimaginably immense, unexplored depths of the cosmos, hence giving their listeners a moment of relief with a promise of new music. Approximately a year from that, they announced their new EP titled "Metaportal" will be released on July 19th, through Season of Mist.

"Metaportal" continues the previous albums lead character Krighsu's (who is the very last posthuman being in a robotised galaxy, mind you) voyage to the vast void. Krighsu must ingress a colossal metaportal of unknown origin, in order to help a galactic system endangered by an abysmal nano-technological war meant to wipe out the last human-derivative being. However desperate and hopeless that might sound, "Metaportal" offers some unexpectedly warm yet inconsolable tones Wormed hasn’t probed before, at least not to this extent. My first impression was that the aforementioned loss might be the direct causation to this. The robotic drones and mechanic hums have been introduced on the previous albums, but this time around they are even more elaborate and emotionally infused. That being said, these refined, fresh aspects don't create a blanding effect, but rather give Wormed's output much needed contrast. The mix is also perhaps more organic than before; Take that as you will, it might sound a bit like a heresy all things considered. The atmosphere is still tightened to extreme proportions at all times, so you will enjoy the tone of this release if you've enjoyed the previous ones.

The EP opens in a signature manner with "Remote Void"; Short intro followed by complete chaos underlaid with gravity blasts and topped with Phlegeton's sewer creature-ish vocals. Habitually, rapid tempo and time signature changes are constantly present, leaving absolutely no room for easement at any point. This is also a trademark motion of Wormed, and considering that alone, the EP format is very fitting and easier to digest by those with less-hardened ears. While the actual song fires with all cylinders throughout, the fresh ambiance pieces make their debut in the end, acting as a bridge to the second track "Cryptoubiquity". This pattern occurs through the whole releases, tying the individual songs together, strengthening the cohesive atmosphere in a similar manner they do on their full-lengths.

The third track "Bionic Relic" showcase the band stretching themselves further than you could've ever imagined. The complexity is taken to a whole new level, leaving the listener baffled, wondering how it is humanely possible to perform music like this. Even after taking into account their absurd past work, you'll hear a band continuously pushing itself to become greater, and that is perhaps the most beautiful aspect to Wormed overall. They already master their craft, there is not a single other band sounding like this, but instead of beaming those familiar and safe grounds, they refine and improve themselves. The finest examples of this progression might be the groovy parts in "Cryptoubiquity" that'll make your legs twitch uncontrollably even harder than before and the slamming parts, long blast beat sections crusted with melodies and just the general oddity and excitement caused by it during "Bionic Relic".

The closing track "E-Xystem://CE" throws some really unexpected curveballs at your way before going back to more customary pace, mostly in terms of the piano intro, followed by a calm and lanquid, emotive palm mutes vs open chords section and a somewhat new(!) vocal style. This track highlights some previously unexamined colours through catchy rhythms and eerie melodies that'll get stuck in your head permanently. As a weird little fact, towards the end I had to take off my headphones because I thought something was breaking. I was correct in a way, but instead of failing technology, what was broken was my spirit and well-being. Still, in a rather positive way. Since this is a mini-release, you won't get to exhausted or worn out as you could with a full-length, which adds to the tolerable and pleasant side of things. However, Wormed has all the tools to transplant these tones to their albums, so "Metaportal" could lead to some inconceivable, seriously mindboggling results.

What's for sure, is that if you didn't like them before, you won't like them now, that's just how it is. A lot of intricacies will get lost if you're not familiar with their older efforts. Wormed is also that kind of band who has it's time and place, and it's by no means fitting to all occasions. Another thing that it certain is, that you will love "Metaportal" if you liked what you heard on "Exodromos" and "Krighsu". You also have to appreciate the time and detail put into the lyrics, narrating a developing and branching story that doesn't pale in comparison to those sci-fi films that fly so far over your head. Without descending into any more tautologies, you could educate yourself by reading these lyrics even if you didn't enjoy the music at all, and that speaks about their value quite a lot. I know I am interested in where the metaportal came from and what Krighsu will discover after taking the leap and can't even begin to explain the excitement I'm having for the follow-up.

“Metaportal” is available HERE

Band info: facebook || bandcamp

ALBUM REVIEW: This Gift Is A Curse, "A Throne of Ash"

By: Eeli Helin

Album Type: Full Length

Date Released: 14/06/2019

Label: Season of Mist

”A Throne of Ash” will gnaw its way deep into your conscious and stay there as an unremovable tumour clamping your nerves, producing both pleasure and agony in unison.

”A Throne of Ash” CD//CS/DD//LP track listing:

1. Hæma

2. Blood Is My Harvest

3. Thresholds

4. Gate Dweller

5. Monuments for Dead Gods

6. Wolvking

7. I Am Katharsis

8. In Your Black Halo

9. Wormwood Star

The Review:

This Gift Is A Curse made themselves known to a wider audience with their Season of Mist debut ”All Hail the Swine Lord” in 2015, and now the Swedes return to finish (or rather continue) what they started with ”A Throne of Ash”. Stylistically deep-rooted in blackened hardcore and sludge, the Scandinavians prove they've been perfecting their dim crafts over recent years, and the result is a retributing, gargantuan and thumpingly heavy album that forces you to return to it again and again. 

Like the majority of all things, ”A Throne of Ash” is not for everyone, however that doesn't mean the album wouldn't be worth your while. The album’s atmosphere is violent and isolated. The eerie, occultist photographic artwork draws attention to it repeatedly, and the fact that the album was recorded in an abandoned house away from the public noise just adds to the intriguing aspect of it all. Tracks such as "Thresholds" and "Monuments For Dead Gods" make sure to deprive all light from your surroundings, while the burners like "I Am Katharsis" and "Wormwood Star" make you question the fact that was there any light to begin with.

What's particularly alluring, is that even though the mix is abrasive and chaotic to the point it makes your ears bleed, every single frequently planted hook still cuts through like the very sickle pictured in the artwork. The raw and hurting ethos is constant, from the first distorted drum hits on the moodsetting intro track "Hæma" to the very last ritualistic ambience of the final track. Considering the album as a whole, it starts and ends to extremes, and is nothing but that in between. While I personally enjoy the silence most when an album ends, it can be deliberated if ”A Throne of Ash” should have some quiet waters here and there, instead of the constant rough flow that now lasts throughout its duration. After all, it goes on for a good 45 minutes, which can be a very long time for someone inclined for more compositionally dynamic variation. But on the other end of the scale, if you're looking to get beaten and pulverised without a single allusion of remorse, this is meant for you.

This Gift Is A Curse is here to leave a mark. They won't inflict similiar, mendable fleshwounds as a lot of the artists on these genres do; Instead, they'll gnaw their way deep into your conscious and stay there as an unremovable tumour clamping your nerves, producing both pleasure and agony in unison. ”A Throne of Ash" is a tremendous record, that paves the way for the band to become a more haunting, household name. Again, the album is not for everyone, but those who find themselves listening to it over and over again, will be purged from the grip of every day humanity.

”A Throne of Ash” is available HERE

Band info: facebook || bandcamp

ALBUM REVIEW: Saint Vitus, "Saint Vitus"

By: Richard Maw

Album Type: Full Length

Date Released: 17/05/2019

Label: Season of Mist

“Saint Vitus” CD//DD//LP track listing:

01. "Remains" (6:23)
02. "A Prelude To..." (3:20)
03. "Bloodshed" (3:04)
04. "12 Years in the Tomb" (5:24)
05. "Wormhole" (5:22)
06. "Hour Glass" (5:23)
07. "City Park" (4:01)
08. "Last Breath" (6:38)
09. "Useless" (1:32)

The Review:

Saint Vitus return with their first full length since 2012 and their first with Scott Reagers on the mic since... 1995! Saint Vitus' position as one of the greatest doom bands of all time is not in doubt- even if people think that doom these days is two hippies playing two chords to larger crowds than Vitus have ever pulled.

Reagers' previous best albums with the band are all seminal to doom; the Sabbath sludge of their debut, the punk leanings of “Hallows Victim”, the career high-point of “Die Healing”... classic all and wonderful entries into the doom genre that went so far as to form and innovate it. After the joy of Wino returning to the band and then the release of “Lilie F-65”, many fans were a little underwhelmed- the record had a few too many fillers and felt rushed (if a record born a decade and a half too late can be “rushed”).

So what about their new self titled effort?! Well, this is the best album since “Die Healing”, no doubt and for me it is a good deal better than many of their other albums as well. With the band line up drastically changed (Armando Acosta dead, Mark Adams fighting a battle with Parkinsons and Wino having exited), Saint Vitus have something to prove here. They, of course, are up to the task: Dave Chandler is still a maestro and one of my favourites- not to mention most instantly recognisable- guitar players and Reagers sounds just as fired up as he did three decades ago. Unbelievable, but true.

This time around, you get eight full tracks and an experimental soundscape with samples. The sound is superb- thick and organic, very clear but it sounds so alive and full of power. Henry Vasquez pounds the kit like Bonham in his later years and that large diameter bass drum gets a thorough kicking. Pat Bruders (ex- Down/Crowbar) brings a fat and competent bottom end while the two veterans are on fine, fine form.

The opener “Remains” is prime Vitus- paranoid, despairing, slithering. Great start. From there you get the curveball “A Prelude To” with its quiet delivery and west coast nightmare vibe- a wonderfully offbeat track. “Bloodshed” is fast and pretty furious, a throwback to “Hallows Victim” for sure. “12 Years In The Tomb” is a beast- but you know that from the stream already.

“Wormhole” keeps the doom flowing slow and low while “Hour Glass” has a riff to die for , even if “City Park” is the experimental soundscape that no one is really asking for. Fortunately, “Last Breath” is a doom 101: monumentally heavy and dark. Classic Vitus. By the time the full on hardcore of “Useless” ripped out of the speakers, I was sold on this album.

This is classic Vitus every step of the way and I could not have hoped for a better album this late in the game. Just where it will sit in the band's canon of releases, I'm not sure, particularly as the sound/production and mix is so good that it is hard to compare to earlier albums as it is just so pleasing to the ear. You never know, it could be their last album and if that is the case they will have gone out on a high.

“Saint Vitus” is available HERE

Band info: facebook

ALBUM REVIEW: Rotting Christ, "The Heretics"

By: Richard Maw

Album Type: Full Length

Date Released: 15/02/2019

Label: Season of Mist

Rotting Christ have triumphed again; they have presented ten tracks of varied and fresh material. The band continues to incorporate unusual elements, both musical and vocal, into their work and continue to operate far beyond the scope if their contemporaries. This is an example of what black metal can be, with the talent.

“The Heretics” CD//DD//LP track listing:

1. In the Name of God (04:14)
2. Vetry Zlye (03:13)
3. Heaven and Hell and Fire (04:52)
4. Hallowed Be Thy Name (05:06)
5. Dies Irae (03:46)
6. I Believe (03:42)
7. Fire God and Fear (04:50)
8. The Voice of the Universe (05:23)
9. The New Messiah (03:07)
10. The Raven (05:23)

The Review:

Rotting Christ have quite the work rate and they return with another ten tracks of almost unclassifiable black metal. An album every three years in this style is an achievement- each record is dense and lushly textured with a lot of effort going into the production, music and instrumentation. If 2016's “Rituals” was a fairly straightforward affair, “The Heretics” is somewhat more subtle.

The band's trademark quirks are present; they sound like no one else and combine everything from Venom to Type O Negative in their impressive aural assault. The opener “In The Name of God” sounds like Blind Guardian jamming with Accept by way of late period Emperor... and it works. The sound is once again incredibly impressive with lots of multi tracking, lots of sweeping instrumentation and vocals and a good deal of layering in the sound. Vetry Zlye brings an impressively cinematic feel to proceedings and at this point it is clear that the Sakis Brothers et al have done it again- created something powerful and unique.

This is black metal- but they sound like no one else who came before them and retain a unique approach- utilising whatever works in the setting of each song, whether that be female vocals, choral singing or blast beats. Or even all that and more.

The bands sound and the album's tone can be summed up by the title of “Heaven and Hell and Fire”. The vibe is one of occasional hope mixed in with a fair amount of darkness. It's not as bleak as “Rituals” and stands alone as another unique feeling record in their discography. Meanwhile, “Hallowed Be Thy Name” is not a Maiden cover, but instead is a funeral-like trudge through the darker sounds the band have at their disposal. It's dramatic stuff and is again cinematic in scope. 

“Dies Irae” is more familiar in that it employs some of the band's more common musical motifs- the shifts between blasting and slower tempos, choral vocals (again) and spoken word sections. The second half of the album kicks off with a spoken word intro- in Greek- and then it is heads down thrashing for “I Believe”, and more Greek spoken word. “Fire God and Fear” features an English spoken word intro and then the type of rolling riff that the band excels at- while using a tempo that was unexpected once the drums come in. The track is a great one- angry and righteous, spilling out the brimstone that the title promises and possessing excellent lead work down the back stretch.

The closing triumvirate of “The Time Has Come”, “The New Messiah” and “The Raven” is just as impactive. The former employs an almost industrial like feel, while the latter is epic in feel and scope. “The New Messiah” almost sounds like an outro- it relentlessly marches forward, but employs a few changes towards the end to build up to the album's closing beast. For me, “The Raven” is one of the best pieces of music on the record and exemplifies everything that Rotting Christ do best; it's unpredictable, eclectic and features the Poe poem of the same name. It really is a fantastic finisher.

Rotting Christ have triumphed again; they have presented ten tracks of varied and fresh material. The band continues to incorporate unusual elements, both musical and vocal, into their work and continue to operate far beyond the scope if their contemporaries. This is an example of what black metal can be, with the talent.

“The Heretics” is available HERE

Band info: bandcamp || facebook