Apocalyptic Necromancy

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Band Name Goreaphobia
Album Name Apocalyptic Necromancy
Type Album
Released date 06 August 2011
Recorded at Neanderthal Studios
Music StyleDeath Metal
Members owning this album21


1. Apocalyptic Necromancy 03:50
2. Xurroth Rreeth N'Vez Helm (City of Rot and Decay) 04:14
3. The Attractor 02:37
4. Void of the Larva Queen 04:04
5. Shroud of the Hyena (Inall Ninuttix) 04:01
6. Footpaths in the Vortex of Doom 04:20
7. Darkstar Dementia 03:06
8. Igigi Reactor 02:53
9. Totem of the Vulture (Sirrix Noxhuun) 02:56
10. Sigil on Death's Hand 03:09
11. White Wind Spectre 07:33
12. Rust Worms and the Noxious Fevers They Bring 05:25
Total playing time 48:08

Review @ GandhiEgo

03 August 2011

This record is both pretty good and awkward at the same time... See for yourself...

With the release of Vile Beast of Abomination that was featuring various materials from demos and the renowned EP Omen of Masochism, Goreaphobia 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 “revivalist” 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 it’s 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 “brutal” 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 it’s only a demonstration at how good the band can be playing Old-School Death Metal.

You’ll 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 it’s occult, sometimes it’s 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 that’s exactly what makes this record both pretty good and awkward at the same time. It’s 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 doesn’t seem to be something holding together this record and each song could be taken individually. Now maybe for most people this won’t 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 something… Most people usually complain at how linear Metal bands can get and now that we have the exact opposite, we’d still be complaining? Well, blame it on me but that’s exactly how it feels.

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