Bandcamp describes the album: It's an extension of their style of playing slow, torturous, dread-filled death/doom metal where every note carries weight and with it deathly implications. A fetid stench pervades the entire proceedings, which is overpowering when combined with the sickly tunes and vocals lingering in the air as if emanating from beyond the grave. The entire experience is morose, sickening, and yet strangely comforting just because it is done so well. The music transitions beautifully from the ponderous doom trudges to the trotting death metal parts without losing its asphyxiating grip on the listener, and just as smoothly eases back into the slowly churning maelstrom of death. Maintaining a suitably organic sound and being selective with their tunes to create the best impression, PERISHING has created an album that fans of this kind of punishing, slow death/doom metal music will find impossible to resist.

The album has six songs, and “Autolysis (I. Imago Fluidus Macula)” is first. The low and slow pace, combined with thick bass notes tell you what you are listening to, and it comes straight from the sewers of Hell. The vocals sound like wretched pukes, and I mean that in the most horrid way possible. “Autolysis (II. Fatum Cursed by Nature)” is another song that crawls on all fours, like a wounded beast dragging his blood and entrails through the forest. Each riff, bass note, and drum strike seem to echo and reverberate in your chest. “Castle of the Leached Body” is another rotten and stanching offering, and the early riffs are right out of the BLACK SABBATH playbook. There is some variation in pacing, but I am not too keen on the overly thin sound at times.

“Las Ruinas del Palacio” begins with clean guitar tones and a slow drumbeat. Add in meaty bass notes, and the sound is dark, and mysterious. It isn’t until it approaches the halfway mark before a distorted riff and guttural vocals come into play. The darkness that is achieved in the song is the best part. “Osedax (Devoured by the Cavernous Worm)” sounds a bit disjointed at first, until a steady, crushing riff settles in. However, the riff is a bit overly simple for me. The song is quite long, and some of the space isn’t properly filled. I know that in the genre, one note can be felt as ten, but they need to thicken up the stew a bit. “Acropolis of Malignancy” is last, and It surges forward with a good deal of energy to go along with its nasty and filthy sound.

This wasn’t a bad album by any stretch of the imagination, it just failed to launch from the pad it was grounded on. It relied too much on past formulas and didn’t really offer anything new to the genre. I would encourage the band to take more chances next time.