From their EPK, "SUPERIOR RAGE was founded in 2006. The music is still 'raw' black metal with atmospheric/dark and symphonic traits. The line-up features only Superior Rage (vocals and synths) joined by "Pagan Fury" on guitars/synths and "Hyemens Kaiser Tszar" on bass. The first self-titled demo was released two years later getting good reviews in national press. In 2010 it is the turn of "Through Infinity" which contains unreleased tracks from the period 2006-2009 and two pieces written in the year of release. The work is fairly well received by the press. In 2025, the promo "Back to the Crypt" was released, including two re-recorded SR tracks and a new song, "Soleright." The line-up included four session musicians. This was followed by the release of the EP "In Memoriam," which included the tracks from "Back to the Crypt" plus "Asmodeus Bacchic" (another SR classic) recorded with the new line-up and the previously unreleased track "The Death of the Red Dragon."

The album has five songs, and "Indecent Condition" is first, and it's raw Black Metal indeed. Fuzzy and aggressive, with screamed vocals, it's akin to the FWOBM. There are some light orchestral elements in the mix, but they are pretty well hidden. They are a little more distinct in "Asmodeus Bacchic." The rage and aggression continue until a more ambient passage closing in on the halfway mark, but of course, the harrowing sounds return. "The Night of Rains" burns fast and hot, and you can hear a soft rain falling in the background. Church bells also ring, and the dichotomy of church and Black Metal is striking. The title track has a bit of Punk influence, oddly enough, and there are also operatic vocals at times. One notable feature on the album is how the band keeps the listener on their toes by constantly shifting the sound.

"The Death of the Red Dragon" is the last song, and it has tinges of Dungeon Synth. However, the assault that follows is akin to getting murdered. Deep and aggressive, it burrows downward to a hole that leads straight to Hell. Timpani and other orchestral elements provide a very harrowing sound here. This was an excellent album. Although it steeped in the traditions of the genre, which date back to the late 80's/early 90's, the band refused to be define by them. Instead, they venture out on their own and lay down a fiery path that lights the way for their journey.