Primarily, I had not the least idea what I'm about to deal with when it comes to a Danish band for the following is the numero uno record from Denmark I chance upon, and it veritably startled me to discern gobs of disparate extreme metal tendencies alloyed together in a bracing object d'art.

"Fury Of Vengeance" albeit a short track already stirred a good preview of the album with the vehement assortment of Black Metal tremolo and double kicks at a time and Death drum rolls at another. Else, scales and tempos, convert from deathly to the funeral doom-like backing chords and vice versa, led by a blend of wrathful growls and screams in supreme alternation, garnished by ambient wind or the bell sounds of an epic march.

In addition, a thrash glimpse could be smelled through the drums in "Spawn Of The Scorned" with ever-shifting black metal chords; even though the same tempo is kept, the up and down intensity of the drums keeps tightening or loosening, the guitars played along with the guitar extensive arpeggio, often two guitar arpeggio parts or better a solo with a tremolo bar with an oriental flavor similarly to most of the other solos of the album. By the third track "With A Foot In The Grave", the album borrows a more technical death drum style although dominated by Proteus-like double pedals and a bunch of drum rolls stressed by a solo and fervent headbanging chromatic passages broken by the end with a key signature shift, although "From The Lips Of The Dead  One" is even more accomplished than its previous from intro guitars reminding me of the style of Necrophagist's Muhammad Suicmez's, march some progressive arpeggio transitions, somehow the chords bring to mind the grim of "The Leper Affinity" by Opeth, from descriptive to narrative and, from passive to active and both ways, in contrast with the more atmospheric "The Purification Process" displaying a certain impulsivity, or the open chord-tremolo combination and the unruffled fingering interlude of "World Grave" in which the drums have the upper hand, in a way that its mere modification from one riff to the next can alter the tendency from one genre to another. Something else to spot is the ardent bass coupled with bass drum beats in "Modern Enslavement", but here I start to have the impression of a riff replicated in several tracks!

Thankfully, no instrument out-sounded the other nor did the drums sound like casserole snares often heard in some black metal recordings, as the hereby one is -after all - principally death metal melted from time to time with some thrashy hints such as in the faster tempo "Transgression" with its stormy arpeggio fused with tremolo. The vocals were quite laborious even though often messy, vocals are sometimes messy, laborious , wide interval tremolo opening space ...... winter storm night chords, one pillar note riffs all along the album,

More technically, "Silent Genocide" exhibited unexpected riffs and turn arounds as well as a jumble of solos, transitions , tapping , chromatic or one pillar note chords (the album's main feature) before a two guitar interlude preceding the comeback of the rest of the instrumental cortege keeping it smooth this time, before "Where The Broken Resides" displays again further arpeggio dexterity mastering the signature and juggling with hammer-ons/ pull-offs, making the term "death" a bit too generic to describe the hereby work.

For sure, this is one of the albums that make you memorize the band's name as you start having high expectations of it in the future. Let me not forget to stress that opting for such complex lines can at the same time be a blessing and a curse, for the current wave in metal (as well as music in general) is leaning towards shying away from sophistication even for such an underground scene!

Positively recommending this.