Entombed
Serpent Saints: The Ten Amendments

I've been signed up on the site for a long time, but I just recently started reviewing, as you all know. I'm one of those who, when they get going, go full speed, and few can keep up. Honestly, my poetic and mocking streak cannot be hidden behind mere feedback and attitudes.
I will never give three or four-star reviews; it's pointless. I only start at 5.
5 or nothing, and I think this philosophy of mine is indicative of a winning mindset.

In my group, I am a madman, and everyone fears me, but the time has also come to review music, and for this, with the help of a friend who graduated in Italian, who recommended this ticking time bomb to me, ready to explode at midnight when humans turn into wolves and vampires come out, and man cannot leave the house. In my group, I am a madman, and everyone in my group fears me.

"Serpents Saints - The Ten Amendments" is the ninth studio album recorded by the Swedish death metal band Entombed.
This album marks a turning point in the lineup of the Scandinavian group: compared to the previous album, both the bassist and the drummer change, but the most significant novelty is the ABSENCE of the historic guitarist Uffe Cederlund, who has been with the band since its inception.
This album, as I've already mentioned, is a bomb!!! and "Serpent Saints", "Masters of Death" are as destructive as a boulder falling from the mountains, destroying everything, including your villa that your father uses for his dubious escapades.

"Amok" seems to come from the Stone Age, great is the HU! of Amok that incites the musicians, to explode in the cocky and vulgar screams of the singer, who screams "AMOK!!! AMOK!!!" - VAFF’AMOK!!! we shout in the car next to the traffic light to the cars beside us.
Lars Göran Petrov shouts "Thy Kingdom Koma HU! Thy Kingdom Koma HU! Thy Kingdom Koma HU!" It is the violent roar of a death n' roll that is danced like the most vulgar lap dance but is an oxymoron of a '60s twist like Peppino di Capri at an 18th birthday party, then to mosh and destroy the host's house.

In my group, I am called the rising star, or the Boss.
We always do it this way; we crash parties, get crazy drunk for free, and have a blast like in American Pie, but "When in Sodom" announces a mosh pit like a tsunami ready to derail on the tracks of our crazy metalhead antics, ready to destroy everything, doors, windows, paintings, and we start arguing with everyone for no reason, and we start dominating the party where everyone fears me.

"In the Blood," on the other hand, is a slow ballad with piano solo, with female moans and a drum'n' bass with black women shaking it hard while I'm sitting dressed all in white with blue-tinted sunglasses, on the seat of a Cadillac and two big black chicks massaging my shoulders, just kidding! It's another ticking time bomb, one of those you don't expect, and it's almost like watching a werewolf howling from the balcony.

With "Ministry," we dance as much as we can, and we destroy everything around us, armchairs, paintings, doors, windows, and then we head to the square to raise hell and scream and run like crazy, and ring doorbells like there's no tomorrow.

The track "The Dead, the Dying and the Dying to Be Dead" and the track "Warfare, Plague, Famine, Death" are tremendous flamethrower bombs with bursts and laser beams that ignite and destroy everything around, and we start dancing again as much as we can while people around us look amazed at how we manage to keep up these frantic rhythms despite everyone smoking, cigarette in mouth and a cocktail in hand, and so after a short break, we start dancing wildly again, and all the girls are mine, and everyone fears me.

"Love Song for Lucifer" is modestly a song I dedicate to myself, I am called the Iguana in my group.

A huge album for those who live metal on their skin every day and every night, a bit like us who never stop fighting and always hope for a better world to believe in and hope for, capturing wherever there is a need to dance and let loose.
HU!