From the city of San Javier, a Chilean band named ORION that crosses the genres of thrash metal & death metal released "Mysterivm Cosmograghicvm" on September 30 2020.  Recorded between August 2019 and December 2019 at Equinox Studios in Rancagua Chile.  Previous releases include 2007's "The Seven Gates are Opened" (Tyrannus Records) in the form of cassettes that includes a cover by PENTAGRAM'S "Demonaic Possession"; and 2005's CD entitled "Pulverizing Skulls", released independently–and a release that includes a cover of KREATOR'S "Tormentor" and DEATH'S "Zombie Ritual".

"On Being And Becoming" - the opening album track begins with nearly one full minute of pure thrash in the style of blackish death metal–the referenced style intends that the thrash is tastefully seasoned with melodic double picking along guitar strings. D.L. Mayhem's vocals suggest lifetime veneration toward Lemmy Kilmister of MOTORHEAD; and, toward Tom Warrior of CELTIC FROST & HELLHAMMER. At about two minutes forty seconds, the drums rest for two measures while the rhythm guitars of Pacto & Toku and the bass of D.L. Mayhem, replay the rhythmic motif for two measures; Apocalyptic Destructor's - drums add a slow two-measure roll to descend across the set of toms. The band enters a moment of pure (unseasoned) thrash and I like this–but further accents especially when chord changes occur on a down beat would certainly enhance this. If guitars & bass adhere to rhythms- this is when drummers can subdivide beats (not to increase speed) but for intersect conversive rhythmic interest: Apocalyptic Destructor almost does this with a short pattern on a crash cymbal that serves as though pick up beats to introduce Pacto's guitar solo. This solo begins as though the melody tempo drags behind the band - but this may be intentional. He adds a second line–a shorter melodic legato phrase that rolls like a curvaceous stream of water.

"Soul Procession" - the second album track begins with a lovely guitar and bass mix - and before we reach ten seconds, we hear a "Blah" in honor of CELTIC FROST'S Tom Warrior. Pacto's guitar solo perfectly clashes with the rhythms and tonic key; after which the band, especially Apocalyptic Destructor slows the tempo - playing snare only on the second and fourth beats - allowing for a stronger foundation and better synchronized groove–and I love this moment of raw heaviness. "The Way of Truth" - the third album track opens quickly, if not abruptly - and by seventeen seconds, slows to a slow, raw and heavy trudge. This is great. The song - especially via snare moves between slower and speedier tempos; while guitars pleasantly remain unmuted - and whether strummed or not–still allow for the viciousness of distortion to ring through her ultimate amplified majesty.

"The Unreality Of Time" - the fourth album track begins slowly & heavily–utilizing the ominous tritone.  One guitar arpeggiates through higher strings while the bass doubles the counter motif on other guitar's lower "e" string - nice; sadly, like "The Unreality Of Time". I wish for more.  "Unreasoned Perceptions" - the fifth album track opens with hefty doses of rhythm guitar distortion.  The tempo is fast and unproblematic. This may be my favorite album track. At about two minutes ten seconds Apocalyptic Destructor rests from the previous thrash style - and we feel the increased aggression (due to increased heaviness) of both the rhythm and the sound. Immediately prior to the guitar solo, guitar and bass play the motif and harmonize it - recalling METALLICA'S "Frayed Ends Of Sanity". Rhythm Guitars replete with string ring sound wonderfully after the solo–with subtle touches of angered dissonance - nice tune!

"Epínomis" - the sixth album track opens with twenty seconds of a thrash drum beat of eighth-note patterns, while rhythm guitars ascend a zig zag melody - a sequence of eighth-note phrases. I would like this better if Apocalyptic Destructor would slow & stabilize the tempo–and he does just that at twenty seconds into the song with a speedy double bass drum pattern–and further reduces snare hits from an unsynchronized pattern of eighth-notes to utilizing (much improved) snare hits on merely the second and fourth beats. For the versus, rhythm guitars slow to allow for a fully distorted string ring for the power chords on the lower, wound strings and I grow excited again.  (There are few sounds in life I love so much as allowing a fully distorted guitar to sustain an unmuted power chord;  my fists clench, my lip curls - nice!).

"Uttermost Absence"- the seventh album track opens with ferocious chunky bouts of distorted rhythm guitar; and rhythmically, the guitar finds the fulfillment of drums at about one minute–when the beat finally slows. Sometimes the feeling of fulfillment does not endure.  At two and one half minutes - the tempo slows again, and we are yet again closer to synchronicity. If this were played at half the speed and the triplet counter motive that revises the theme were played more slowly with a stronger, accentuated attack "Bum bum / Bum bum" - maybe with a harmonic on the low 'g'–think KING DIAMOND'S "Killer", we'd have radio play.

"The Wanderer" - The eighth album track opens with a melodic melody that moves slowly, while it is simultaneously rearticulated with quadruple picking. Pacto's guitar solo opens with a continuous yet variable minor third pull-off on the higher strings - almost reminiscent of an automotive siren moving closer and further (by strategic use of the whammy); continuous utilization of this wonder-bar tool is done with a "Mysterivm Cosmographicvm" iteration of perfect death metal class.

"Witchery War" - the ninth & final album track opens with clean guitars - with a distorted rhythm backdrop of guitar and drums to create a sombre, yet impending connotation of something dreadful–and I remember "Merciless Death" from a beloved DARK ANGEL of my youth. At about one minute ten seconds, the song opens into a standard riff at a speedier tempo. Guitars & bass sustain a heavy presence - and even include a recurring embellishing bass phrase (a resurging "Merciless Death"–transfigured not transposed if only not from the latter, of the original clean guitar lick) that endures for about thirty seconds. The speedier tempo resumes for the song to end - not with a Witchery whimper but with a War like bang.