Once again a Polish band puts both feet on the soil of Death Metal and apparently managing to get past its bottleneck. From the land of VADER and OGOTAY take on the same approach of massively blasting machine gun in what seems as its second generation, with their album "Dead God's Prophet" as the master plan.

Primarily, OGOTAY prides itself on first-rate growls from deep within, though the vocalist didn't manifest it to the fullest. Taking the example of the title track, he actually adopts a theatrical leaning which enhances the dual facet of the album best depicted in this very same track in a relative analogy to narrative and descriptive guidelines, the first goal-oriented, the second atmospheric in stillness. Dwelling on tremolo for a generous amount of time, the album often turns pivoting around a set of four chords - average listening despite the palpable effort, for the quite elementary riffs lack variety and aren't likely to leave an unforgettable impression, and above all, the tapping and tremolo bar overdose during most solos could have been reduced to a simpler yet catchier version instead of being featured in as disposable if not detrimental to the album. Same feeling towards "Bastards And Orphans", a blast of snares and drum rolls but beware that the guitar tandem may just roam aimlessly or become a tool to not-so-spectacularly fill a void, or else "Entering The Void" in an ultimate proof that we've got in view a band that definitely can play, but with reservations concerning the riffs sounding lazy almost half of the time. Subsequently, we're rather dealing with a songwriting issue, with a more often than not redounding structure and even placement. On the other hand, the mentioned track has its moments though, enjoying a brilliant interlude and riff alternation when you least expect it as well as pretty much appealing chords at times, for "simplicity makes beauty" in hereby context.

Throughout the track-list, a flagrant GOJIRA and VADER smell is bound to stimulate your senses in one way or another, primarily via the drums as crashes and rides are more active than in the average Death metal, the snares somehow hit on crashes all fronted by a compact set of stringed instruments, and - on top of all - the double pedals just come across as they should be, light and heavy at once far from the futile hollow ear blasting continuity. And while the whole album tracks share many similarities we absolutely would like to hear more, therefore it's up to the band to dig deeper as there are indeed decent tremolo riffs as well as abrasive cuts as in "Kneel And Die", even the keyboards on "Antiseptic Hell" drifting a bit away from miscellaneous Death towards a Blackened variety, all while sticking to no labeling or definition. All the same, "Axis Mundi" can be re-written and a masterpiece can be extracted out of it, answering the question: is there any solid basis for "Dead God's Prophet" at the first place? I would say: definitely, just check "Huge Fucking Nothing" to detect something different from what preceded, with a darker tendency and mere chords delivering a distinct sound.  But particularly, one can notice the mastery of riff alternation as the band perfected the timing of when to cutting or retrieving a riff as the number of times apparently follows no rules apart from the feeling and appreciation of the M moment. A well consistent cluster, over all.

All in all, OGOTAY mixed the blasting energy with a bit of "it could have been better" impressions. However, such bands are needed for the scene as one thing for sure, while following the footsteps of pioneers, they already exhibit an identity of their own, one of the greatest assets that bands might strive for years to craft.