|#FOR FANS OF: Brutal Death, Nile|
Unaussprechlichen Kulten has been playing Lovecraft inspired death metal since 1999. Expanding on the tormented mythos of its focus, moments of oldschool barbaric brutality similar to Immolation are mixed with the fringes of Nile-styled technical moments that make for deeply unnerving journeys with satisfying payoffs as raging segments ride the line between the insufferable and the impressive.
Massive melodies disharmonically extinguish any thoughts of redemption or hope between shivering strings and malicious meters as the gradual pace of 'Keziah Lilith Medea' grows into an unstoppable onslaught utilizing the machinations of a maniacal mind as the template for your torment. Though the grating guitars grow annoying in “The Woman, The Devil and God's Permit”, “Dentro Del Circulo” makes up for the unnecessary liberties with a more duplicitously dulcet approach to its gradual grandeur. Most of the songs throughout this album explore cavernous cacophonies akin to Demilich's unconventional undulations, and like Demilich these unusual airs can be all too full of noisy and unapproachable combinations. As horrific as the fate of the old woman depicted on the album cover, wearing nothing but a headdress, enduring the unspeakable torments of Hell as her body withers and rots at its extremities, these songs are the remorseless foundations of a twisted perspective that only sees majesty in the blood it has spilled and the piles of rotting corpses it can leave in its wake. This disgusting music is here to offend with its uncultured debasement of Immolation's most shrieking shreds, but in that unearthly approach such appetizing moments like the tangled treble of “Sacrificio Infanticida” keep me wondering just how much the band can manipulate this unpleasantness.
“The Mark of the Devil” exemplifies thrash influence in this album. Similar to Udo Kier's 1970 film of the same name, this song is an unrelenting splatter-fest exalting the glory of hammering percussion as the arsenal of pure metal beats back any semblance of insanity. Alongside “Sabbatical Offering”, these thrashing riffs take to the skies above the churning drum chaos like winged demons circling their prey before diving into the carnage to feed on what fleeing masses of skin and sinew haven't been melted in the fires of their explosive opening salvos. Alleviating some of the most intense moments in this album these thrashers take a familiar shape as a welcome addition in more harmonious songs, blackening their brushstrokes and coloring a crushing canvas with the frantic haste to get the message understood of their captivity between such substantial swaths of distorted vibrations and unsubtle motions.
'Keziah Lilith Medea' acts as a corrupted inquisitor, not sent by the justice of Christendom to urge confessions of your sins through a firm-but-fair duress as serious as necessary in order to save a soul. This inquisitor is enchanted by the music of different screams that a tortured man can unleash and lives for experimenting with the extent of mutilation one can endure before shedding his mortal coil. Unaussprechlichen Kulten attempts to live up to the notion of its namesake by seeking high and low for what wickedness will snap that last shred of sanity in your skull. Though this mind riot takes some getting used to it hits the mark in enough places to stay entertaining as malformed malignant monsters hide within the sounds, their tortured gaits concealing the speed at which they can come and consume you. (Five_Nails)
(Iron Bonehead Productions - 2017)