Review: Crashing intrusion black metal penetrating the soul of sheer rhythm and melody so refined it is evident and omnipresent, looping through cyclic songs blaspheming the holy, Vilkates make black metal in the old school of mostly singly strummed chords with occasional death metal racing tremelo riffs of a longer variety, keeping focus upon the rhythm and effect of immersively pop melodies within pieces that despite simple structures emphasize longer structural growth. Loops trigger one another and send another round of madness cycling through riffs and interludes, with transitions focusing power through rhythm.
Highly conceived sense of melody in structure pervades in these basic songs with a concept of spatialism developed to further theme providing a foundation which modifies itself according to its needs in conjunction with lyrical expansion, allowing these songs to rise and meld with themselves before conclusion in elements of origin. A sense of classical thematics defines the melodic cores to these pieces and guides their development through chaotic instrumentation and strobing, cadenced vocals of torn-throat alienation.
Although some of the "hail Satan" comedy appears throughout this album its lyrical content is mostly generously distributed toward pragmatics in metaphor and posturing against the holy ones, complementing phrases that are blasphemous in their discovery of harmony amidst the disharmonic constructions that eventually render it. In later tracks the attention span expands and lengthier melodic phrasing unleashes itself in reverberating tremelo synchronization to primal motion rhythms within this human work.
When made from raw elements such as these, black metal treads a difficult course between the overly demonstrative and the obscure, as the style is well-known to mainstream black metal tastes, but Vilkates overcome this effect through the introduction of elements from even more disturbedly inverted music such as Impaled Nazarene alongside an understanding of classic anthemic Eurometal from the past two decades. Clear in its themes and tight in its obscure but focused composition, this release births a new iteration of structures of the past.
