Personally, I was eager to discover such a thoroughly themed band and such an epic-influenced album for the sake of rehabilitating the early Roman era, noticeably through the use of latin (will it be vulgar or contemporary for I'm no expert) in the track titles as well as the band's name itself, further mentioning the artwork putting on view an army of ancient conquerors. Therefore, has ORDO INFEROUS conquered it?

Despite a roughly lame soundtrack style album intro, the album seemingly consists of blocks of 2-3 tracks on a same scale, as if one lengthy track consisting of three parts with each one more fierce than its previous, starting for instance by "Ligua Silentium" in which the vocalist sounded like a lecturing Cicero rather than a deep enough growl, maybe that's intended to put emphasis on the point of reference before it turns into a veritable growl in later tracks and even blended with some hissing from time to time. In fact, the track structure is a bit raw striking a chord with the mid-late Death (the band) style with a guitar subsisting on basic rhythm and instrumentation kept to a minimum while the soloist is stealing the spotlight, while and that's conceivably a good point underscoring the vocalist, but from this track you can figure out the album's guidelines further explored in the next parts of the "block" where tempo gets faster, verses shift to a tremolo base and drumming more turbulent starting from "Io Saturnalia" with bass drum beats, as well as some atmospheric synth effects induced this time, yet the sort of echoed and overdriven solos are the genuinely the asset of the album notwithstanding their oriental scales contrasting with the main theme but that's what I even deem a plus! As mentioned above, the intensity crescendo grows to come across more patent, with the double kicks becoming convoyed with crashes and ride bells, and the synth more present and pronounced.

As usual and such as in "Tunica Molesta" the eccentric tremolo bar solos kicks ass and scream from beyond, multiple solos per track various in structure from tremolo bar to tapping and trill as in the solo saturated "Daemoniatus", equitably scattered and not restricted to the 2/3 - 1/3 joint of it, but trouble is that I often await these parts since the verses are a bit tedious and tiresome the way it does in an AMON AMARTH track (oh yeah!) yet exceptions exist, from the ilk of "Divinatio Tuscalana" which starts doomy with highlighted drum rolls in added to an excellent room for the soloist to display his skills, before taking a twist and switching to double kicks and blast beats.

Like an extension of its previous within the next scale bloc, "Decimatio" ditches tremolo to one pillar notes chords at least in its first half, only to join the previously mentioned pattern again to perpetuate the cycle, same for the next "Servi Domini Veri" whose open chord intro gives the impression of an odd man but the same pattern will keep haunting as soon as entaming the verse, bouncing from tremolo or one pillar note chords consequently influencing the drum play, intercepted here and there by peculiar soloing.

Point is the acoustic guitar fingering interludes, occurring as milestone multiples of six. Sweet, soothing yet enigmatic, despite "Antequam Porta Aperiatur" being no more than a song fragment I had a blast listening to, and again listening to its more dramatically enhanced twelveth counterpart outro portrayed by string ensemble and natural acoustic harmonics, an aesthetic boost for the present record.

For sure, I had heard worse bands getting more credit, and I can't stress enough how beneficial a clear concept is, and this band has got the deal. It sometimes reaches a point when the only thing that matters is passionately composing what one likes, not according to the general taste; and this is what's unmistakably detected though "Invictus Et Aeternus".