With the release of Vile Beast of Abomination
that was featuring various materials from demos and the renowned EP Omen of Masochism
were gaining newfound attention in 2007. Later followed in 2009 by their very first full-length Mortal Repulsion
after a mere 21 years of existence, the band was finally really starting their career in much the same fashion General Surgery
had done so after such a long hiatus period.
To be perfectly honest, Mortal Repulsion
engendered various reactions throughout the Death Metal community. It was sort of a mixed bag. One half was praising it to the skies as the record that would put to shame most ârevivalistâ bands while the other half complained that the excellence and the brutality of the early material featured on Vile Beast of Abomination
was by far superior to their debut making it sound dull in comparison.
Now itâs only been two years and with the news that sophomore effort Apocalyptic Necromancy
was soon to be released, the community started to ponder this again. Would Goreaphobia
renew with their lost âbrutalâ sound or would they release something in the same vein as the debut?
The answer is most likely the second one. Goreaphobia
have perfected their Death Thrash art on Apocalyptic Necromancy
. The opening track will remind painfully listeners of early Morbid Angel
(Altars of Madness early) and after that itâs only a demonstration at how good the band can be playing Old-School Death Metal.
Youâll hear various influences here and there, be it Master
and their eponymous debut release (Totem
of the Vulture
), or even some thrashy Slayer
-like riffing. They use melodies, they play solid and inspired solo parts, they have this "analog" feel to their production, etc. It could be the perfect example of how an Old-School Death Metal record would and should sound. Except they're probably a bit late to get the same recognition that others have had for the last 20-25 years.
Sometimes itâs occult, sometimes itâs in your face, thrash like attacks almost verging on crust. You get more melodious tracks with some kind of melancholy in it (White Wind Spectre
), others that blast their way through hell, etc. And thatâs exactly what makes this record both pretty good and awkward at the same time. Itâs good because not a single track (and there are 12 of them) is bad enough to pull down the overall quality of the record but it's also awkward as it does feel more like some compilation records featuring various artists. There doesnât seem to be something holding together this record and each song could be taken individually. Now maybe for most people this wonât be a major drawback but in the end, the initial enthusiasm goes down a bit as the album does not and cannot maintain its hold on you from start to finish because of too much variety.
Now is that somethingâ¦ Most people usually complain at how linear Metal bands can get and now that we have the exact opposite, weâd still be complaining? Well, blame it on me but thatâs exactly how it feels.