Includes a cover of Death's Scream Bloody Gore as well as four bonus live-in-the-studio tracks!
This EP marks the final chapter of Craig Pillard's time with Incantation in the studio, bringing an end to an era defined by his guttural, brutal vocal presence. Pillard's unique style, cemented on Incantation's first two albums, has been widely imitated in the death metal scene, often evoked as a hallmark of the genre’s old-school revival. Although he would briefly reappear with the band in 2008, this release was the last time his voice would feature on a record, closing a significant period for the band.
Despite being an EP, this release is a pivotal transition, signaling a new phase for Incantation as John McEntee's songwriting matured, and the long-lasting collaboration with drummer Kyle Severn began. It bridges the two distinct eras of the band, reinforcing Incantation's status as one of death metal's elite, continuing to push forward creatively even after years of relentless touring in support of their early works.
In terms of production, opinions may vary. The guitar tone, characterized by a mid-range honk, is reminiscent of the Boss HM-2 distortion sound found in bands like Entombed and Dismember. This sharp tone may polarize listeners, with some appreciating its raw edge and others finding it harsh. The drums, though clearly audible with triggered kicks, could benefit from more weight, particularly in the toms and overall low-end. Yet, the snare delivers a satisfying crack, and once acclimated, the production allows the songs to unfold with intensity and purpose.
The mix itself is well-balanced, with the guitars and vocals taking center stage. While the bass may be less prominent, likely due to speaker limitations, the overall clarity and separation of the instruments are commendable. The dry sound and tonal qualities evoke comparisons to Morbid Angel’s Blessed Are the Sick, offering an atmospheric touch that suits the darker themes.
Musically, the EP kicks off with "Shadows From The Ancient Empire," a track that would later be reworked for Diabolical Conquest. Though subtle differences exist between the versions, it showcases McEntee's ability to extract new life from existing riffs, varying rhythms and picking patterns to keep things fresh. "Lusting Congregation of Perpetual Damnation (Eternal Eden)" stands out as a highlight, with its rapid-fire riffs and memorable hooks, topped off with an impressive array of guitar solos—a rarity for Incantation.
"Triumph In Blasphemy" offers a glimpse into the band's future direction, using a brief transition that mirrors the live flow between songs, something McEntee would later incorporate more frequently. Meanwhile, "Forsaken Mourning of Angelic Anguish" hearkens back to earlier Incantation material, bringing blistering speed and groove into a concise, hard-hitting package.
The EP also features an impressive cover of Death's "Scream Bloody Gore," with Craig Pillard adding a new level of ferocity to the classic track, demonstrating how far death metal had evolved while paying tribute to its roots.
The final track, "Twisted Sacrilegious Journey Into Our Darkest Neurotic Delirium," is a whirlwind of blast beats and punishing riffs, wrapping up the original content in a concise burst of aggression. The closing "Outro" shifts gears entirely, offering a five-minute soundscape of eerie atmospherics, reminiscent of Morbid Angel’s interludes but longer and more drawn out.
In summary, this EP is a vital release for Incantation, encapsulating the band's evolving sound and marking the end of an era. The bonus tracks on the reissue, featuring bassist Daniel Corchado, add even more value, providing insight into the band's transition before Diabolical Conquest. Fans of Incantation, and death metal in general, will find this EP an essential listen, combining the band’s trademark style with a forward-looking approach.
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