Pyrexia

New York style death metal which followed originators of the percussive style Suffocation and Morpheus Descends influenced.

Pyrexia - Sermon of Mockery (1993)
Pyrexia - Hatredangeranddisgust (1997)

Sermon of Mockery

Drowned

1993

Production: Reasonable clear, halfway obscure.

Review: Heavily influenced by New York's Suffocation, so much that the greatest criticism of this band will be "Suffocation clone," Pyrexia wrest blasting structuralism from a handful of power chords and an interval to move in. While the style is dependent on the work of percussive speed/death coming before, in Pyrexia a uniquely linear and recursive interpretation of this makes for a labyrinthine but pummeling listen.

Tracklist:

1. Sermon of Mockery (3:48)
2. Resurrection (2:46)
3. Abominat (4:12)
4. The Uncreation (3:38)
5. God (5:35)
6. Demigod (5:17)
7. Inhumanity (4:00)
8. Liturgy of Impurity (5:07)
Length: 34:25

Pyrexia - Sermon of Mockery - Percussive Death Metal 1993 Drowned

Instrumentation is impressive and vocals, for the punching guttural slack-throatedness drawn taught by anger, while arrangements extract the strengths of these players and allow them to collaborate. High hat riding percussion slides over glissando lead guitar and a constant mechanical churning of power chord riffs altering one another through friction energy. As this style was, for as short as it lasted, more influential than most other styles in death metal itself, Pyrexia directed the consciousness of the genre toward more-impact oriented music just as black metal began to influence the audience.

1. Hatred, Anger and Disgust (4:14)
2. Bludgeoned by Deformity (4:16)
3. The enshrined (4:00)
Length: 12:32

Hatredangeranddisgust
Mixing a hardcore influence into their New York metal, Pyrexia aim for a more metalcore audience with three songs that fall short of the world-class work that Suffocation, the mentor to this band, routinely churned out. Fast power chords with intense rhythmic emphasis, recursion on rhythm and development of rhythmic idea through a matrix of double bass drumming, fast snares, and heavy downstroke strumming propel simple themes of complementary halves which conclude in resolute churning.