Conqueror
Review: From Canada comes metal conceptualized around warfare at each level of detail including all facets of appearance and recognized constituency of sound.
I. Abstract
Counterpoint in dual frameworks of paced discursive deconstruction of motif and expression of dominant rhythm and mode, as means of riff genesis, forms the oppositional halves in rhythm that adjust the structure behind this work and assemble a linear continuity of narrative in texture and tonal/rhythmic motion. A space created is broken in half, and then those halves split twice into counterpoints which through fusion or prevalence emerge and are recycled into the next level of machinery in the song, at the next vast change emerging once again into fragments of the fundamental themes to which a piece returns en route to its final conclusive charge or explosion, varying with conceptual theme.
II. Structural
The primary implement of structure here is the phrase, as embedded within the riff, that creates an expectation which is itself counterpointed by drums and voice until the internal conflict of each riff is exploited for a change to others, in a frenetic and boundless salad of riff and rhythm converging on a central idea in silhouette made real through an imperfect rendering. Phrases are formed from the structure of power chords as changing in tone and illustrating a "melodic" phrase (often without the internally harmonizing aspects of melody, in the chromatic sense as here) which illustrates a clear pattern relative to central tone as measured in the changes of chords and the number of internal iterations of each used within the rhythmic structure to gain resonance. This structure, old as metal and hardcore, here in information era form is rendered in the fragmentary unified by an overbearing centralized structure, suggestion a tyranny of expectation against which internal motion rebels.
1. Infinite Majesty (5:01)
2. Chaos Domination (Conquer the Enslaved) (5:56)
3. Age of Decimation (4:01) 
4. Kingdom Against Kingdom (2:14)
5. Bloodhammer (5:17)
6. Hammer of Antichrist (2:41)
7. The Curse (2:34)
8. War Cult Supremacy (3:34)
9. Domitor Invictus (6:37)
10. Command for Triumph (4:57)
11. Diabolic Force (Slaughter cover) (3:25)
Length: 46:19
III. Aesthetic
Constant warlike tempo and ranting howl of rasped vocal edge on the churning cycles within these pieces, joining circular and linear in a narrative which reveals potential in nothingness by expanding the most basic riff concepts into epic levels of variation accompanied by concept expressed in lyrics and choices of points and modalities of frequent tonal reference, forming a baroque passion embedded in machine death music for the future. Deliberately similar to Blasphemy and other Canadian bands, this act have much in common with the Australian grinding black metal front as well as local bands Axis of Advance and Sacramentary Abolishment in the framing of drive in nearly constant percussion-centric surging blast of guitar and drum impact.
Twisted fragments of esoteric self-convulsive melody trail off after a complementary rhythmic subdivision and briefest harmonization, forming the violent lead guitar which periodically graces these songs. Instrumentation is perfectly in balance with performance and reasonably technically adept. An overall impression to offer the listener: fast intelligent black metal based on a worldview of eternal warfare.
Review: Black Witchery:
Formed from the same linearist code juxtaposition that gives Demoncy and Incantation their world-shifting feel, Black Witchery use warmer modalities in a death metal style within pure black metal riffing of simple looping structures which converge on the same resonant melody, producing an effect of unsettling mutation within the pragmatically balanced. Headbashing constant ambient throb and crash drumming beats into punchcard the instructions of these archaically harmonious yet relativistically structured and violent riffs. Shrieking peak of vocal tearing complements racing chaos. While songs do not vary dynamic the hypnotic induction of the listener into these worlds of seething and oscillating tones crashing into infinity ferments within the soul an emotional openness to these nihilistic but fantastically dreamlike worlds of simple churning motion.
Conqueror:
The slamming deconstruction of worlds contained in these songs expressing the essence of simple elements of conflict in a mostly rhythmic structure of progression in riff and lyrics throughout each song, with emphasis on circular structures and chorusing as well as extension transition work empowering the more elemental motion riffs with a context in which to rage. As harsh vocals boil guitars race and collide in staccato patterns of blast alternating with fluid ripping styles. More than a continuation of tradition, this is enjoyably nihilistic metal.
Black Witchery:
1. Unholy Vengeance of War (3:50)
2. Black Witching Metal (4:12)
3. Summoning of Infernal Legions (5:32)
4. Into Damnation Eternal (3:18)
5. Demoniac (2:50) Blasphemy cover
Conqueror:
6. Ross Bay Damnation (Intro) / Chaos Domination (Conquer the Enslaver) (6:21)
8. Hammer of Anti-Christ (6:05)
9. Domitor Invictus (4:42)
10. Command for Triumph (4:42)
Length: 39:35
