So here we have a melodic death metal in the name of DESCENT INTO MAELSTROM and they have been on the death metal scene now for the last few years as they come from their home country of Italy as they are currently a four piece band. Their approach and style can only be best described as 'dodecaphonic Metal, which combines the intensity and energy of metal with the intricate, mathematical structures of dodecaphonic music' so lots of big words, however we can say they could be very much a technical band perhaps. The band is led by their front man who is ANDREA BIGNARDI who is their vocalist/guitarist, second in the lineup as guitarist PETER BUZZI, then there is bassist and of course guitarist MICHELE AUGELLO. It isn't clear as to whether there is a drummer or if they are maybe programmed, so it is possible their front man arranges the drums.

The four man band burst onto the scene in the year of 2017 a year after coming together, as their debut album DESCENT INTO MAELSTROM was the beginning of their musical expedition into the world of death metal, which actually had more of a gothic theme to it, inspired by poetry of well known poet EDGAR ALLAN POE. The following album in 2019 titled ICONOCLASM, was their sophomore album as this was inspired by paintings as it turns out by well known artists like VINCENT VAN GOGH, FRANCISCO GOYA AND ZDZISLAW BEKSINSKI, so no doubt another step in the right direction. Then after this in 2020 was the release of their EP titled GEHANNA and then came another EP titled NOCTURNAL TRANSFIGURATION in 2021, however after a single release of "Mater". This was included on what is their brand new album titled DEI CONSENTES.
The album begins with the intro track "Cinis Et Pulvis" as a complete shower of devastation of destruction from all members of the band, as the guitars fire so fast as drums do too, like a loaded gun on burst mode. There are some nice highlighted accents in drums and then vocals are incredible, so powerful and giving the track a stunning atmosphere, as the melodic elements are heard a little later on with guitars providing that side of the track. It does also seem there is some technical element like a sound effect maybe or a keyboard playing maybe, it is unclear, but it certainly adds some ornamentation to the track. And then we approach the next track which is  "Triumphus Falsarius Daemonium" as more stamping and bombarding guitars with drums cave in together as a big fist fight is in play.

Vocals stay very much on top of being dangerous and fierce as before like a wild animal waiting to catch its prey, drums certainly follow a similar pattern as before, guitars also do some impressive sliding and vibrato effects almost synthetic. Vocals are the raging fire of this track as well as guitars and drums which punish their way through with clattering drum accents along the way. "Abyssus Devorat Terram" has guitar mellow for one note then back into hot melting pot of death metal at its finest with guitars really reaching those high range notation and drums running on a progressive propelling movement as vocals unleash all that is unholy and satanic by nature. "Infecundus" continues on from the previous track as guitars and drums soldier on a solo partnership without the accompaniment of vocals for a short time.

Still very much a track for guitars and drums to venture beyond the gates of hell, forcing themselves to look further into the gaping hole of time and space as we hear a short clip of unusual guitar work going on. No drums for a short time but then they come right back in and are back on the ascendency, as we edge closer to the next track which is "Pater". There is more sustain at first but then it is back into the death metal montage of madness from all instruments, we are very much consumed by the horrors and nightmare realm. There is a section short but shows the contrast and duality between drums and guitar, as we march on the atmosphere is haunting and rather sinister as before. Onwards into "Silvarum Patrona" as we hear a short vocal chant at first then back to business as usual with the pure hardcore of death metal mania at its finest.

There is so much energy and charisma along the way and even halfway through the track we do hear the technical aspects of the band, certainly the dodecaphonic attributes, as guitar or drums represents this. Pulsating at times with guitars and drums, we can't escape the catalyst of how each element is depicting the narrative but anyway we head on into the next track which is "Deus Sol Invictus". Mellow guitar is first in, with bass guitar also picking notes, then the full band are in the mood for some deadly destruction, as we hear everything going at full speed, we can still hear the tonality from guitars or maybe a keyboard sound, guitars get a short solo section later on but there is no stopping this band as we head onto the next track.

"Amor Sola Lex" as this lets off all the steam from the previous track with drums and guitars prove to, vocals nowhere to be seen at first, bass guitar gets a look in for a short time. Into the eye of the storm, we go but halfway through we come to a slightly more sustained part for guitars, drums following suit to the slower tempo but not for long, we go back into a fight for the narrative as vocals did come in eventually. Even another chance came for drums and guitar to expand on their previous attempt on working closely together for a dual like no other. So much excitement and rebellious streaks of all instruments going head to head competing for that search for spotlight. "Deus Belli" is a pretty short track only two minutes long and just acts as a filler for the next track to come in as the fury and rage is ongoing.

"Silentium" is a firecracker like the previous tracks, the start very much of the same character and point of view as it pulsates right through the first minute or two before an experimental part for guitar is active, an interesting spanner in the works for sure. But back to the thumping and begging for more hardcore death metal as we still hear the melodic side of each other track as they come. "Mater" as the vocals brings all the other instruments in for a crazy rollercoaster ride of the ongoing noise of this band as there is so much power and precision as well in here, as it has been all the way through this album. So the final track is "Defloratio Gratiae" as drums count in slowly at first with guitar playing a response riff, in conversation with drums before the shredding guitars and drums lift off once more.

We do hear some short clips of what we heard before with drums or guitars slowing down or focusing more on quick accents or different patterns with rhythm. Later on we hear a gap or maybe a short silence, didn't really expect it now but as the saying goes, expect the unexpected. Drums and guitar are very much the trigger for the rest of the track but then it all fades away with another mellow guitar part with a soundscape of melodic tuning to close the album. There is so much energy and drive, it is just a big rocket fueled album with the heavy hitting drums with racing guitar riffs, together as they do lead the way with some variations, but I would say it would be good to hear more of the melodic side, but a great commitment all the same from the whole band.