True ferocity is an often indescribable sensation, consisting of rage, abandon, aggression, and raw energy though of a substance that somehow melds all these things and more into a menagerie of intensity; it is, by effect, a sensation and sound difficult to transmute and convey, though such obstacles have done nothing to hinder EVILCULT who have succeeded, in excess, of doing such with their debut release, "At The Darkest Night."

The Brazilian based band begins their album with the song, "Drunk By Goat's Blood," a thrashing, lo-fi, and attention rending musical bout whose reach knows little bounds as its creator's intentions have reached round the world over and over through song and media to breathe its sensation into the minds of anyone who would listen-myself included-where one would come to find the sheer intensity of the track is of a capacity unlike many others. "Sons Of Hellfire" begins with a start-stop accompaniment to the rhythm section forming a miniature prelude to the greater aspect of the song whose progression and lyricism both lie in an energetic and macabre sound. "Eternal Cult Of Darkness" slows things down for a moment, stilled in the sound a one guitar the introduction seems to last for a time longer than its recorded piece, as the lapse between the start of the song and the melding of the full band creates an ephemeral tension broken by the joined progression. "Army Of The Dead" starts with a flurry of drums which not only serve as the backing for the album, but further introduce the strings to the mix; the delivery of the vocals is striking and haunting as their hall style reverb sinks and disappears into the aggression of the guitars.

Nothing short of caustic the instruments-voice included-strike against your sensations in an indelible manner, sounding something of bones crackling in a fire the sound is unforgettable and forever compliments the aggression laden compositions. The guitars have an abrasive and shattering grit to them though, despite the coarse recording, fit in seamlessly with the rest of the instruments not only melding but as well drawing the attention of the listener to the larger sound as a whole; the bass is a mixed bag, sounding that it was recorded through the same amp as the guitars, it is itself near invisible for the duration of the album, yet on tracks such as "Necro Magic" one can hear in clear distinction its contribution to the sound as a whole, which serves as not only a driving force but additionally a sonic device to even out the tones between the panned guitars wholly balancing out the strings in the process; the drums are tight and center weighted bringing attention and notice back to the confluence of all the instruments; and lastly, the vocals are caustic, abrasive, corrosive, and invoke damned thoughts of miserable attributes which makes them ideally perfect for the music.

"At The Darkest Night" doesn't pull any punches and presents itself unhindered and uncaring fully embracing both its compositional strong points and deficit in lo-fi production-the mixture of the two creates a remarkable sound which only serves to prove-beyond empirical argument-that passion can make all the difference.