Album Review: Apostate Viactum, 'Before the Gates of Gomorrah'

(By Philip Morrissey, Irish Metal Archive)

When is a new band not a new band?  For many fresh-faced youngsters, starting off, it can prove to be a struggle to gain credibility or awareness.  Using a current sound will see them derided as trend hoppers and fly by nights, employing an image and feel from yesteryear will see them being dismissed as a pale imitation by those who were around at the time and by going their own way with a unique sound will get people complaining that they should sound more like (insert name).  They just can't win.  Getting their name out can also be a challenge.  They cannot hope to get allotted the more lucrative support slots on festivals and tours unless they know the people who are involved in putting this all together.   Being around the scene for a while will allow you this chance, but often they might be asking the wrong people.  Spamming information about themselves will also have a detrimental effect as you end up annoying those you are trying to impress.

Of course it helps if this 'new band' features members who have been there and done that.  Vinnie O' Brien and David 'George' Thomas were part of the very evolution of extreme metal in this country through their association with legendary outfits Asphyxia andMorphosis.  Andy Inight pounded the skins for Inhumane, Nephridium among others.  Meanwhile, Muiris O' Fiannachta contributed to bands such as Corrupted, Agony Design and more recently Bloody Kisses.  Clearly all lads who have been down in the metal trenches and shed much blood, sweat and beers in that time.  Even before a name had been established, whispers soon emerged of what was to follow.  This was enhanced by the release of a limited demo single, 'In the Shadow of the Monolith'.  And it is to the old school that we travel back for their sound.  No bells and whistles, just dirty old school death/thrash metal.  Particularly from the era of bands such as Sadus, Pestilence, early Sepultura and Master.

The band have been busy on the live front recently.  They toured with drowned and landed an excellent slot at Unconquering Darkness Fest last year.  Earlier on this year, they supported the Dutch giants, Asphyx, where they went down very well despite an atrocious sound for them.  This will have helped them to sharpen their blades and focus their attack ahead of the album's release.  'In Articulo Mortis' kicks things off with a feedback drenched opening which gradually leads into low ranged guitars.  The production is quite sparse and raw sounding.  The playing is quite tasteful but leaves you with a sense of dread of what is to follow. 

The lines become increasingly tougher and harder until all goes silent.  There is no messing around with 'Anathema Inherent', however.  We dive straight into churning and twisting guitar riffs, growling bass and rumbling drums.  The vocals are suitably gnarly as well.  And the two vocalists work well in combination with each other; one possessing a deeper growl, whilst the other more of a snarling bark.  A couple of tasty guitar pieces, complete with pinch harmonics and divebombs aplenty, stand out prior to limbering back into action with some seriously filthy sections.  It all comes together before lurching towards a slow ending.

'Moloch the Sanguinary' picks up where was left off.  It is a meaty and solid opening yet again.  The guitars transition smoothly from straight lines and pinched pieces.  The riffs are positively bulldozing at times.  The drumming from Inight is especially powerful.  The churning bass lines reminds one of the Dutch school or Incantation. The vocals resemble the harsh and spiteful bark of Kreator's Mille Petrozza or Sodom's Tom Angelripper at times.  It seems to be designed to be a firm favourite live already.  Again, there is a return to the growled vocals as well.  With 'In the shadow of the Monolith', the pace drops further.  It's slow and sludgy opening is a distinct change of pace.  It is almost to the point where spasmodic twitches are the only indication of life.  It is not to say it is monotonous however.  Short blasts which punctuate it, allow for a good variety, and helps maintain the interest. 'Bastards of Cane' begins in more of frenetic style.  It perhaps owes more to Immolation than the ones previously. The listener is allowed occasional breaths of air before being pulled back under. There is a serious amount of hatred and spite being regurgitated in the vocals. The guitar lines are solid again, with the obligatory inclusion of a few squeals. Oddly enough, at different stages amid the chaos unfurling, it is actually quite a rocking track as well.

It almost seems like a thematic change in the title number. Almost dark-wave or post punk in its set up. Its slow and purposeful drum beats reminds of slate falling in an abandoned warehouse. Just as a demonstration that there is more to their bow. Definitely a case of developing atmosphere rather than the quick and instant hit. As it develops along, there is a superb display of guitars and snarling vocals. Touches of Jeff Walker at times. Above all tracks, this is Inight's moment in the gloom. A superb rhythmic section is among his many highlights in a number that allows him show his full repartee of blasts and beats. The longest track on the album, it draws to a slow, crushing finish. In contrast, the album's closer is almost a short, sharp, shock. 'Beckoned by the Callous Dead' tears out of the blocks in a flurry of riffs, beats and thudding bass.  And plenty to enjoy for the old school heads.  Shades of Possessed in the squealing guitars, Celtic Frost in the roars and evilness of early Slayer.  A great way to finish affairs off.

This has received mixed opinions so far in terms of responses. Some have pointed out that it lacks somewhat in variety.  Others are perhaps burned out with so many outfits of a high standard coming through in recent years. Invictus brethren Bolzer, Zom and so forth. It is by no means a perfect debut. There are aspects to work on and it is noticeable the last few tracks sound differently as they were recorded with a four piece after O'Fiannachta joined. The latter two are distinctly better and provides a structure on which to go from. Perhaps it lacked that smooth transition between the numbers and they did not link altogether.  The question for me is whether I would listen to this again? And the answer is a resounding yes. I have done and will continue to do so. Hopefully more is to come from them and can be built upon. The production work has to be complemented as it allows for a very organic sound. All the tracks and playing has its own space to breathe and develop. Touches that may be required on other more revered albums from the past. In the meantime, they are due to be playing alongside Demeter and Trenchknife in Cork later this month (July 8th), followed by Vircolac and Coscradh in Limerick (July 22nd). Definitely shows that will be devastating.

Get 'Before the Gates of Gomorrah' here!