Infester
Review: Turgid ferment from below evolves into creatures of significance, which mutate into ecosystems complete with growth and death and doubt, forming eventually a meaning in terms of motion and strength that could be interpreted as will, appearing rarely in pure form until a conclusion is distilled in each chapter of this morbid and deranged output of thunderous metal that redeems the American style of percussive blast by giving it a longer focus through symphonic breakdown of riffs into long phrases and melodic interchanges linked to express a central theme through information and its resonance in structure among notes of a motion which, like a symbol, contorts on itself to generate a vision of essence from that mood. Atmosphere prevails as a result through these power chord epics accompanied by selective organ and acoustic guitar, forming a blurred horizon of massed sound which converges over the listener as a liquid environmental factor.
1. To The Depths (in Degradation) (5:11)
2. Chamber of Reunion (6:41)
3. Braded Into Palsy (4:33)
4. Epicurean Entrails (5:42) 
5. A Viscidy Slippery Secretion (5:06)
6. A Higher Art Of Immutable Beauty (6:23)
7. Clouding Of Consciousness (4:34)
8. Excoriation Killz The Bliss (5:34)
9. Mephetic Exhumation (7:34)
10. Outro (2:28)
Length: 53:48
Endless directions form within the most basic of riffs, and then reappear as related elements of progressions moving a song from its fundamental conflict to its statement of essence, from which narrative develops across Wagnerian interludes and looping layers of recombining clusters of chorus and discursive themes. Gutteral vocals have a uniquely controlled direction to their bark, howl, growl and whine, and subdued instrumentalism projects a high level of specialized competence. The only album yet seen from Infester captures the sense of changing panoramic worldview as the moods it creates expand into stories that are fantastic and expansive in the style of middle Burzum work. As in the most progressive of works and the mighty progenitors of metal, songs often confront their vital disturbances in majestic transfer through vastly un-rock classicist adaptations, forming in noise and tone a cultural majesty rarely seen in the wasteland of USA from which this comes.
Celebrated for its creativity, vision and sense of powerful growth immanent in every aspect of existence, this negativistic work was never quite accepted perhaps because of the certain taboo lyrical and symbolic tendencies, but remains one of the better examples of death metal and a work in the confines of atmospheric death that transcends examples today of the same through its direct and logical attack with the ambition to dream up microsymphonies of thunderous sound.