The South American blackened nihilists of Doom Metal have returned from their slumber. Step by step they slowly walked, putting in blood and sweat, to retain their stature in the genre once more. Honestly, they were never big, but after listening to their comeback release, I trust that my intro is closer to the truth than not. Well, this trio band, named CONDENADOS, is actually South American, from Chile to be exact, and have been entrusting their untamed beliefs in the virtues of Doom, the rather cleaner cut of this ancient reminiscent of the wicked 70s. Being embraced by a record label that fit them like a glove, Shadow Kingdom Records, the trio released their comeback album "The Tree of Death". Better get yourself ready to be burnt in the stake, or at least on the edge to be hanged on that tree as melancholy is a strong character in this group.

Whether starting from the beginning, al'a BLACK SABBATH, or soul searching through the colossal 80s in the vein of MANILLA ROAD, PENTAGRAM, CANDLEMASS, or even early CATHEDRAL and PARADISE LOST, the grim force of this old subgenre that virtually spewed the drama within the cold plated Metal music is there to remain for a long time. CONDENADOS composed a number of epic songs, even if not all of them are in length of an actual storytelling epos, in the heritage of their inspiration. Though not being reflected by any form of originality, they were able to achieve a standard that nearly each tune is a theatrical display, a gruesome story told to leave everyone astounded, shocked or in dismay. From the burning of witches and into the lungs of hell, just use your imagination and you will find what you are looking for in evil and mankind's primitive beliefs to confront it.

Musically, there is nothing much assorted or unique around here. On the other hand, the better song examples spoke well for themselves. The beginning of the epic chain, "Star of Punishment", portrayed an impressive classic Heavy Metal riffery clouded by a blackened wrapper. The heavy riffs sounded in a close proximity to the SABBATH's tritone, circling the old merit like snakes. In addition, Fernando Vidal Salas, was all over the place with his preaching, crying out, howling vocals. Grazing a sort of Ozzy Osbourne meets Messiah Marcolin kind of emotional bursts. No doubt a great storytelling tale to be reckoned with. "Marchosias Oath" surveys a similar vibe, demonstrating the common riffery of classic Doom Metal, without any shred of flamboyant technique, simply riff oriented all the way. On the other hand, the melodic guitaring, screaming melancholy, is an assimilating drug, hard to escape its influence. This is a kind of alchemy to live for in this genre. "The Lamb" started to kick things into gear, a small dose of energy, beautifully chanting in Spanish only to reimburse the old CANDLEMASS atmosphere and meaty riffs of the 80s, a punisher in the name of what is holy, or unholy. "Sea of Fire" might be the most theatrical moment of this album, virtually flowed by so fast, delivering the band's mentioned qualities to maybe become one of the most prominent in Doom Metal.

Well, it would seem that this release deserves a nine out of ten with all my celebration about it. However, I argue that the band would reach a much stronger status later on, only if they will keep it up. The "The Tree of Death" is a good release, a foundation to base on, yet it wasn't as flawless as I would have wanted it to be.