Demilich
Nespithe

Peculiar, dark, terribly complicated.

These are the characteristics of the first and only full-length by the Finnish band Demilich. The group was formed in Kuopio in 1990 and began recording demos, precisely 4, which would showcase the initial distinctive traits of the sound that would become the core of the soon-to-be-released album. It was the year 1993, and the group started working on "Nespithe," a work that would never gain the fame they deserved but would become one of the cornerstones of European underground Death Metal. A frighteningly technical work, the instrumental skills are at an enormously high level; each composition is a demonstration of great talent, without ever devolving into flair for its own sake.

It's worth analyzing the performance of each group member, first and foremost the singer Antti Boman, whose guttural, icy, absolutely lethal growl must be heard to fully understand his unique style. The guitar, played by the vocalist himself, delivers riffs that are always inspired and tasteful, an absolutely excellent performance that deserves significant recognition. The second guitar by Aki Hytönen displays particular inspiration at a solo level, with solos full of great atmosphere, a job executed with great class. Bassist Ville Koistinen does a truly good job, constantly engaged in supporting the compositions, accompanying the guitar riffs excellently. Behind the drums, we have Mikko Virnes, who delights us with patterns that are never monotonous, in a continually insane evolution, really surprising in some instances for precision and talent.

Every single song can be considered excellent, given that the average level of compositions is decidedly high; however, it is possible to point out episodes of superior caliber to others. The fourth track "The Echo" is a piece of great quality, with complicated sonic interweaving, yet the result is catchy and appreciable from the first listens. The absolute masterpiece is the eighth track "Erecshyrinol", endowed with frighteningly inspired riffs, extraordinary drum work, and terribly icy vocal lines. Absolutely a must-listen in all its multiple facets. Notable are the two final songs, the most direct of the bunch, namely "The Cry" and "Raped Embalmed Beauty". The first endowed with great charm and atmosphere, the second for those who love headbanging, a furious ride marked by the drummer's sublime work.

A special mention must be made for the peculiarity of the song titles, the most nonsensical, yet very apt to describe the musical content, the intricacy proposed by the group. A glaring example is the second track "The Sixteenth Six-Tooth Son Of Fourteen Four-Regional Dimensions", utter craziness.
In terms of sound, there is nothing to complain about; on the contrary, the production is exquisite, with all instruments equally highlighted, the bass even churning in the more complex passages.

In conclusion, it can be stated without hesitation that "Nespithe" is a technical Death Metal album worthy of far more renowned works, probably now forgotten but one that many should rediscover. Anyone who loves technical music, and in a sense, quirky music, must absolutely listen to it.