Old school death metal is here in the form of SPECTRAL SOULS as they began their journey in 2019, they are from the capital city of Lima in Peru so they were heavily influenced by the classic bands of the late 80's and early 90's. They had their debut performance in mid 2019 and then they began their preparation for what was to be their debut album titled TOWARDS EXTINCTION, however as 2019 ended, this was delayed due to the Covid-19 pandemic. So their first album release had to wait and after a year and a half, then it was finally finished and was released in 2020, the album contained 11 tracks so in February this year, the album was reissued.

The band is led by singer MARTIN REVOREDO who is an ex-member of APOCRYPHUS and RESSURECCION who really belts out those screams and cries of anguish. Then we have electric guitarist MANUEL RODRIGUEZ who also played alongside REVOREDO in APOCRYPHUS but also many other bands including; MORTALA, NECROPSYA and ARMAGEDON. Next in line is bassist ADRIAN DEL AGUILA who certainly makes an impact as he was a member of bands like MISERABLE and M.A.S.A.C.R.E. Finally we have on the drums TEO SUCHERO who was also an ex-member of APOCRYPHUS but also played in EPILEPSIA, PSICORRAGIA and DARKEN before joining his fellow band mates.

Their debut album begins with "No More God For Me" with thumping drum fills and manic guitar riffs that do strike through the mix, with precision and excellence for sure. The drums thrash like nothing is in their way and vocals come roaring in eventually, as guitars get the pace going and drums follow on cue as they prove themselves worthy of matching the expectations of true death metal. The tempo and dynamics really do come out from drums and guitar especially as vocals aren't as active just yet, but no doubt the rest to do much already. "No Hope For Humanity" is next up as we hear more from vocals this time around and drums have the momentum firing on all cylinders, as they shatter the mix with low rumbling sounds

Guitars get some time to themselves before drums come crawling back in and hitting those cymbals nice and have control of what they are doing. The vocals especially are monstrous to say the least and bring out the pure evil and satanic themes, as throbbing guitars are playing alongside. Guitars do get more of the spotlight this time as well and drums support them all the way, even the tempo varies a bit further on into the track, as we approach the next track. "Fuck The World" cracks the whip literally on guitars and drums blasting through this track with authority and colossal vocals that are merely showing the impending doom to what follows on with drums rolling around. The tremolo effects of guitar is quite something else and creative as well, as we head onwards to the next track.

"Ego Man" with cymbal hits at the start with a building crescendo on drums, then non stop commotion is in sight, with all instruments coming like a ton of bricks. The drums and guitars are just solid in terms of playing ability and vocals are thick but they do mix well, as they are not actually too loud in comparison to the other instruments. Drums do certainly dictate the tempo and speed each instrument should play at and this is very much the focal point of this album. "Scum Politic" is riding on a very cool drum beat with cymbals and even slightly edgier patterns that do well to cut through the mix, then even blast beats make an appearance.

Vocals are simply staggering and very cruel, however they do allow the other instruments to speak up more, so the guitars and drums do have the advantage and control of the tempo and tone of the track. There is merely only two contrasting sections, so onwards into the next track which is "Towards Extinction", this is just a short one minute and a half piano sonata not something you would expect in your average death metal album but certainly a nice touch and addition. A combination of piano and strings creates the palette of textures of the symphonic intermission, then straight into the next track which is "One Step Away From Extinction". An interjection of cymbal hits with rocket field guitars is just so good to hear and the drums as well matching the anticipation and sound levels of guitars, vocals do join in eventually.

There is certainly a repeat of previous drum patterns as well here so no new ideas really, still the energy and tension is theatrical to say the least, there is no stopping these guys. Vocals do contribute more as they joined in halfway through the track but still giving guitars and drums the space they need. A short guitar vibrato solo comes in later on as we look ahead to the next track which is "Cristal Generation", a different time has been set here, well the drums are verging on a different sort of rhythm but they do consist of slower patterns with accents. Then the heavier and thicker guitar riffs return for almighty devastation and destruction as they launch into beast mode, we can hear subtle screams in the background too. Headbanging drums then go on a stampede hitting those drums like their life depended on it, but then back into the full band unison as we steadily approach the next track.

"Major Depressive Disorder" has so much creative juices flowing on the drums, guitars follow along very closely, then vocals roars as they let out the words of dismay and disgust. More guitar solos do drop by as the drums propel the guitars onwards as the momentum is strong and consistent. There is so much wickedness and delight in everything that is playing with more guitar vibrato and drums thrashing every single drum or cymbal hit right in the listener's face. "Misanthropy" with drums smashing once more, guitars are ignited to the burning sensation of being super hot and spitting as vocals do have some interesting clips of hysteria and bite. There are just as many phases and transitions in this track, with mostly familiar sections as we come to the finale which is  "Behind The Lying Glass".

This final track has very interesting guitar riffs and drums that do well to open the track, a gradual crescendo starts up and then leads back into a full band unison. Drums become a bit more soloistic and then tag along with the guitars, as vocals belt out those screamer notes, then drums take their opportunity to solo themselves with guitars leading the way for them to do so. The contrast is clear as drums improvise on the sections without vocals then when vocals are present the flow is much smoother, which does make sense. There is a faster and meatier section which is what brings the album to a close, overall the album is good, it has it's good parts but there are other points that could be used for more variations. But still a very good effort by this death metal band.