My interest piqued when I learned of a new released from the Polish purveyors of signature crushing Black/Death Metal, DOOMBRINGER.  Comprised of members from BESTIAL RAIDS and former members of CULTES DES GHOULES, the band came into existence in 2007.  In 2008, they released their debut demo, "Primeval Sorcery".  After several minor releases, the new album, "Walpurgis Fires," is their second proper full-length.

"Into the Woodlands" is perhaps the most ideal song to kick off the album.  Its ubiquitous summation of the band's modus de operandi is more than fitting.  By combining the refined tools of Death metal with the noir essence of True Black Metal, the band provides the perfect backdrop for showcasing their ability to craft original songs.  The breakdown toward the latter part of the track is proof of their unpredictable nature.  The following track, "Agenda del Aquelarre," extends the exposition of atmosphere initiated with the previous track.  Like many great albums throughout the history of Extreme Metal, "Walpurgis Fires" has its own distinct feel, tone, the ability to take the listener to a foreign world, a realm of reigning nocturnal supremacy and the antithesis to any vision of Eden.  The bass solo section displays a pure tone devoid of tricks presenting a new twist to the song in the form of a minor key romp.

"Samhain Melancholia," the fourth composition, opens with a plodding tempo evoking a blackened feeling of doom.  Methodically, the chords are palm-muted while keyboards ring out in the background providing extra gloom.  One cannot help but be reminded of SAMAEL's early output.  In many ways, DOOMBRINGER represents a retelling of that generation of bands with the gritty, low-fi tone, adherence to ever-changing structure, and overall feeling of chilling, damnable debauchery.  Sixth track, "Briceia Chants the Spells," begins with a medium pace before launching into full-on-Armageddon  chaos.  From a technical perspective, what is impressive is how no matter the tempo or mayhem occurring, the melodic intent of the guitar is audibly resolved.  DOOMBRINGER manages to successfully toe the line by offering the dirge-like and explosive scenery of the old school masters without having the riffs enveloped in eventual white noise as has happened on many classic recordings.

This is one of those albums that practically exists out of time.  Sonically and production-wise, it could have been released decades earlier, a trait adding to the appeal.  The riffs are there - massive, deliberately guilty of evil worship.  The bass drum thumps as if the listener is standing in the rehearsal space as opposed to studio trickery.  Influences are omnipresent, obviously including MAYHEM, VENOM, and BEHERIT, yet they do not overtake the proceedings as they rather act as a frame of reference.  This is the real deal, an extremely provocative ensemble of songs meant to transport the listener to the realm of darkness parallel to this dimension where light is forbidden and the primal is indulged in ritually.