Unanimated
Ancient God Of Evil

Tinted Black.

A dark, gloomy work with a "sweetly" pounding, tight, and vilely evil pace. There is no pity whatsoever; the five Swedes uproot every obstacle, massacring with stunning elegance, giving rise to an absolute masterpiece of Scandinavian death, that beast with razor-sharp teeth named "Ancient God Of Evil".

Composed and produced between 1994-95, this work consists of nine "claws" of unheard-of power, filled with refined technicalities, schizoid rhythms, and abrasive, outrageously angry vocals. The peculiarities that made the genre's fortune converge in the notes of the Stockholm band, elaborated with originality, enriched by a groove and immediacy that elicit applause.

The sonic tornado roars violently in the opening of "Life Demise", the guitars brutally wound, the syncopated drumming launches into arsenic accelerations while the voice of the gloomy Micke, although anchored to the classic black-death style, imposes itself fiercely and stridently.
"Eye Of The Greyhound" follows closely, lowering the adrenaline but enriching itself with urgent and melodically impeccable harmonies. The Swedish-rooted death-thrash assault growls belligerently in "Oceans Of Time", the breathtaking riffing impresses with instrumental abilities, and the duetting with the singer's putrescent screams drags us into a true sonic hell.

On the brink of a symphonic approach in the introductory notes, "Dead Calm" embodies the anthem symbol of this work thanks to the immediacy of very classical melodic lines and the excellent solos of the unleashed Mellberg. The irascible flow of tracks is relentless; in fact, after the reflective instrumental "Mireille", the bifurcated hate melts into poisonous rhythmic turns in the sonic curse of "The Depths Of A Black Sea" and "Ruins". Atmospheres reminiscent of Dismember-At the Gates peep through, filtered by our "melodic" personality, all surrounded by apocalyptic settings created by the rough grunts and occasional keys of stratospheric effect.

"Dying Emotions Domain" brutalizes crudely, thanks to the shamelessly thrash riffing but explodes into a very solemn symphonic-tinged chorus, while the closure is entrusted to the articulated mid-tempos of "Die Alone". Once again, Peter's drumming unspools a feral double-bass assault where riffs at the edge of sonic rot of black roots chase mad keyboards and a single "blazing" of sharp ferocity.
A single sonic assault, a raging river of molten lava that leaves one astonished and bewildered but enthralled by such barbaric "grace".

Ruthless.