The throes of Death Metal are a caliber jagged, jaded, and abrasive consisting of gritty riffs, soul piercing vocals, and an intensity affectionately described as grotesque and macabre. REPULSIVE VISION does naught to shy away from any such nuances and welcomes all associations of malignance and its ilk. "Necrovictology" contains within its construction a blistering sound both transcendent and terrifying.

The LP begins with the track, "Other Than Divine," which itself commences with a sampling of some manner or British séance before the song as a whole descends in visceral defiance upon the listener utterly eviscerating the dynamic-similar in effect to movies scored by HANS ZIMMER who captivates the audience's attention with pianississimo themes before crescendoing to a full band leveled at fortississimo. "Exterior Of Normality" gives us the sense of something primitive, exciting, and vicious-a piece heavily panned and illustrated in aggression the song plays on its stereoscopic arrangement with harmonies and divergences. The title track and main attention piece of the album,

"Necrovictology," has this goading manner of rhythm to it, a driving progression which ushers you, as the listener, to do more than simply sit and listen to the track. Truly, the track has some form of gorgeous malignance to it. "Draconian Reprisals" is played in a much quicker progression than its predecessors, however, unlike those that came before the composition of the track is more focused with each section building off of one another rather than just being contained to an unchanging rhythm with varying leads, such that the vocals, strings, and percussion all provide support for each other and change in varying rhythms to establish tension and immediate resolve. "Through Gaslit Halls" comes right after the instrumental of the album, and serves as a stark differential between the first half and what comes after, being composed with greater intricacies and brutal instrumentation. "Regret" is one of the shorter tracks on the collection, but is itself one of the fiercest being as ferocious as it is quick. The final track on the album, "Paraskevidekatriaphobia," is perhaps the fastest song on the whole of the album, and serves to conclude the collection, though it does make me wonder why the band went with the title they did in lieu of triskaidekaphobia.

The layout of the instruments is sublime in reference to the genre, where despite the gritty raw essence each instrument provides, there exists a stark clarity and voice to each one. The guitars are distinct enough to discern in both channels; the bass is powerful, succinct, and centered; the drums achieve a perfect balance between cymbal and body; and the vocals cut through with great ease. "Necrovictology" is a 38 minute collection of extreme melodies and heavy rhythms which commands the listener's attention should they find themselves invested. The dynamics are great at creating tension, and the instruments are greatly balanced such that none wrest attention of the listener over the other. Anyone with an appetite for the extreme would find solace in the record.