ESKHATON is a three-piece Death Metal band from Melbourne, Australia, the land of the mighty, BESTIAL WARLUST and DESTROYER 666.  Like those two bands, ESKHATON are a band in which the totality of the presentation is dominated by tone.  "Omegalitheos" is their third full length and was released on June 20th, 2018. ESKHATON perform an exceptionally primal version of Death Metal.  The first track, entitled "Relic of Mictlantecuhtli," sounds like a violent storm demolishing all in its path.  It has an element of anarchy in the mix as the band seem to be constantly on the edge of the experiment going off the rails.  The next track, "Serpentity," continues the chaotic trend of the first song and ups the ante.

The fourth track, "Inverterror," was the first song I can really say I enjoyed.  The parts were far more intelligible with one guitar playing a simpler, more bass-end riff, while the other guitar plays the more frantic chaotic patterns similar to the preceding songs.  The sixth track, "Abyss Unknown," opens with a slower idea which blends nicely with the under-production. My favorite track on the album by far was "Omnilify," the ninth track.  The huge chords presented in typical minor fashion allow the band's intent to be not so subtly revealed in a nice contrast.  For a moment, I felt like I was listening to classic DARKTHRONE, though the bands sound nothing alike really.

"Blasphemartyr," the 11th track, has a main riff that continues with the spiral-effect established early on within the album.  It is reminiscent in concept of "Altars of Madness"-era MORBID ANGEL with the multiple guitar parts.  The oddly titled "Kimah Kalu Ultu Ulla" is the final track and it punches with the extreme fury of the band in the finale. In the mix, the guitars have no treble at all as the sound is dominated by the bass frequencies seemingly.  To further the cause, the vocals are low, guttural, and raspy in a sense, blending perfectly with the string instruments.  Though the band is classified as Death Metal, the music almost mirrors that of Black Metal in the way it violently churns like a super-storm in the Atlantic.  This is certainly at the very edge of the genre with the almost-frightening tendency of the band to drift toward derailing the train so to speak.

One would be correct in labelling this as primitive as well for the recording seems to be all bass with some treble and no middle frequencies.  This seems to be a release for the more eccentric with its savagely brutal delivery and raw production.  Die-hard Death Metal fans would probably be divided over this were they to be polled. It must be said, though, that despite its unusually frantic parts that seemed they could be the song's undoing, the band grew on me.  After my ear grew more attuned with the style, the more I enjoyed it for what it is:  an ultra-brutal onslaught of nuclear nihilist fury presented in a loudly underwhelming production giving it a truly dead feeling.  It will be interesting to see where the band goes from here.