Already the seventh album from Italy’s quintessential horror doom/black metal band. With their distinctive blend of gothic horror, crushing doomy riffs, and demonic revelations, they have been relentlessly unsettling minds since 1996. Alongside compatriots Mortuary Drape and Death SS, they undoubtedly rank among the most intriguing and idiosyncratic bands to emerge from that scene.
Earlier this year saw the release of the live album Oratorium, on which the band convincingly proves that they are — or perhaps were — an exceptionally tight and intense live act. For the time being, the band appears to be “on hold.” That, of course, sounds far more hopeful than a definitive split, so fingers crossed that this hiatus will prove to be only temporary.
Once again, the Italians deliver a soundtrack fit for a pulp horror film from the 1970s or ’80s. Think scantily clad women, poorly applied monster makeup, decadent vampires, and blind Templars riding in agonizing slow motion as they pursue their victims on horseback. The entire album oozes that unmistakable, sleazy atmosphere of obscure cult cinema.
Musically, all of this is wrapped in an occult, doomy aura heavily driven by ominous church organs, lumbering riffs, and a mysterious violin performed by Francine Boulert. Looming over everything is the ever-present voice of Labes C. Necrothytus, contorting effortlessly between screams, grunts, and a distinctly ’90s gothic delivery, lending the album a sinister, almost ritualistic intensity.
With seven tracks — two of them instrumental — and a total runtime of 44 minutes, this album once again proves highly convincing. It’s a record best enjoyed by simply pressing play and allowing yourself to be consumed by the menacing organs and catchy, doom-laden riffs.
From opener Deus Cornatus to the album’s undeniable highlight, the more than nine-minute-long Speculum Fractum, everything falls perfectly into place. A thoroughly compelling release and absolutely worth your time.
80/100
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