Pentagram
Review: In the style of South American death that relentlessly slashes melody into a rhythm and a churning progression of structure to reveal a nihilistic drive toward centricism in a cycle of regenerating violence and sonorous calm, this Slayer-influenced sawing masterpiece hammers through variant recontextualization of a central rhythmic/tonal schism to conclude in an underlying savage drive completing the openness of the highest conjecture with the lowest sensual desires. It is primal love for the universe in hatred and majesty expressed in awkward, inverted, and basic constructions.
demo I (1987):
1. Fatal Predictions (5:06)
2. Demonic Possession (4:11) 
3. Spell of the Pentagram (6:19)
4. The Malefice (4:19)
demo II (1987):
5. Profaner (6:02)
6. Temple of Perdition (6:19)
live (1987):
7. Demoniac Possession (4:25)
8. Profaner (5:57)
Length: 42:40
Driving resonant lead melodies pound alongside blast rhythm for tension in songs that follow a quest for closure through tugging doom riffs breaking their own paradox in cyclic rebirth through resonance in melody in a return to the dark, cultish rhythm and pulsating near-absence of melodic potential in the codex of information blasts patterned within infectious rhythm riffs.
Moods vary but the dominant tendency achieved is one of suspense at the edge of apocalypse, with a mythos crumbling in blasphemy designed to articulate a spirit against god, which tinges this release with the haranguing doubt of existence wedged in black metal or doom, but its core in fingerwork and conception of the language of assembly mirroring the reality seen through its darkened worldview, remains the early school of German speed/death in the style of Kreator, Destruction, and Sodom. This is attacked with greater speed and more fluid tempo and beat pattern changes that despite their abrupt nature, integrate fluidly to a natural motion of human martial arts.
Sourly rancid vocals puke out short spurts of acerbic noise in the style of early Sepultura, whose influence could be suggested in the Slayer-like riffing riding long-phrase beats arising in the late development of many songs, accompanying reasonably competent underground musicianship. Powerful for its guitarwork merging the abstract and concrete in violation of all Platonic principles inherent to Christianity, this music inverts the holy and makes it organic in savage sound and hateful words against Jehovah.