Metal maniacs, rejoice! I am proud to present to you: MALAMORTE; signed via Moribund Records, hailing from Italian grounds - performing Heavy Metal, on their 6th full-length studio album entitled: "Omen" (released August 26th, 2022). Since formation in 2009; the duo in question have an EP entitled: "The Fall Of Babylon" (released October 29th, 2014), and 6 full-length studio albums in their discography so far entitled: "Devilish Illusions" (released March 26th, 2016), "Satan Goes To Heaven To Destroy The Kingdom Of God" (released June 9th, 2017), "Hell For All" (released January 25th, 2019), "God Needs Evil" (released February 21st, 2020), "Mass Cult Suicide" (released April 9th, 2021) & this here 6th album entitled: "Omens" of which I am introduced to in their discography so far. 9 tracks ranging around 36:18; MALAMORTE arranges an intricately designed formula on some heavy-hitting Heavy Metal developments.

Opening up with this rampantly rompy thud of sturdy weight & riveting remedy; "June 6, 6:00AM" amplifies deftly into a belting, barrage adrenaline as bulldozing calamity clobbers eardrums with jumpy punchiness and groovy crunchiness. A catchy but blistering frenzy soon thereafter revs up with piercing bounciness, as boisterously bruising bolts shreds with slaying grinds and lacerating kicks within "He Is Born". Chunky bashfulness along with some uproarious yells from cordial singer L.V. shouts with throaty density, as galloping chugs and frolicking volatility ramifies with screaming yells while showcasing some shredding stability to boot. Drilling firepower expertise soars with bleeding gutturals and sonically seamless substance on organic tempo, monolithic strikes morphs virulently with thunderous reverb while rumbling melody solidifies with rambunctiously stompy pursuits on piledriving rhythm, fabricating a euphonic slab on meaty calamity in which surges with killer laceration aesthetics amongst a kicking drive in bludgeoning but dexterous & synthetic stridency.

"I Die For You" attributes aforementioned traits with profusely robust synergy; keyboardist hymns play well with the thumpy snarls of scouring distortion and gnarly bass audibility from SK, injecting an infectiously primitive rawness with relentless flickering ability that portrays some meat & potato finesse, in which manifests with this zealous fundamental in flexibly radical wickedness while an all guns blazing chunk fires all cylinders with rapidly swift nimbleness for good measure. "Repulsion For The Sacred" implements a concretely gritty but old school chime embedded, pumping out some brutally bestial and barbaric hammerings that will batter heads furiously with strong yet rigorous vigour to rollick to. "The Son Of The Devil" creates a captivating dynamic in this; persevering with salubriously rifting revs while trembling sound production momentum crafts a symbolic suave on persistent but experimental hybridity that will make you marvel with the satanic fervor, either that or simply unleash a distinguished desire to raise havoc and hell upon the masses to raise Satan himself from the pits of doom in a ritualistic shroud, distinctively - adjectively, be warned not to transgress yourself to this point, making sure to rock with responsible outre...or not.

"Megiddo" unearths some more magical maliciousness; while an entrancing mobility mellifluously towers with twinning guitar hooks and battering strife, volleying with primal wrath & rampaging yet pandemonic ruthlessness. This vibrantly potent panache rocks the stage with steely precision and exuberant buoyancy, where venomous licks executes with monstrous yet impactfully impulsing deathliness which will unravel an indelible but contorted enthrallment at the mountainous majesty of mythical but heavy mettle songwriting musicality that's most engaging. "The Truth Behind The Cemetery" motors with more malignant yet true metal maelstrom technicality; not quite MANOWAR yet more KING DIAMOND/MERCYFUL FATE-esque which springs to mind once the vocals kick in, an archaic archetype that masquerades with tremoring yet groundbreaking foundations in bordering headiness, where skyrocketing meltdowns & ominously jarring grips grumble with virtuosic steadiness that's most vivacious.

The penultimate banger "Kill Damien" has a crisp but jumpy memorability to it; implementing an elementary force in bombastic but melodious raze, still trembling with uniquely versatile vehemence which utilizes prodigiously prestigious tactics on jolting riffage while pounding pummels & uproarious singing rummages with proficient rigidness that will bop heads in no time, while worshiping the devilish haze upon thee. Overall concluding "Omen" with the finale "Outro"; a hymnful closure with spoken word subjugation that portrays one hasn't had enough yet, begging bodies who've already listened to this wraith of spectrum demonizing in evil empowering richness to go back to the beginning again and replay this banger enjoyably. Bottom line; I am compelled to say that MALAMORTE delivered an enriching experience in baleful sin & bashful embrace in which won't win record of the year material, but a discovery that's worthy of spinning a good few attempts at least is deserved - do check it out.