vote
7.0
- Bands:
DEIVOS - Duration: 00:33:06
- Available from: 10/18/2024
- Label:
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Selfmadegod Records
Completely faithful to their long history and their substantial discography, Deivos propose the new and seventh album of their career, “Apophenia”, in the name of their unconditional passion for death metal, venerated by the five from Lublin with a new collection of pieces grim and little inclined to contamination and change.
In fact, the stylistic coordinates remain firmly anchored to a fast, powerful model, still based on the lightning-fast passages of the rhythm section first and foremost, and on a riffing that is most often tense and ferocious, elements common to the group's past discography.
Without climbing into difficult solutions and embellishments, Deivos immediately maintain a streamlined approach towards the composition, creating with the initial triptych a textbook demonstration in the field of rapid and technical death metal. “De Materia Turpi” then leaves an extra glimmer of calm to appreciate the rocky sound of the guitar, managing to insert some slightly more catchy and memorable vocal lines on the chorus.
Even “Apophenia”, with its atmospheric hints, and “Persecutor”, the only song in which a slow tempo can truly be found, add a suggestive depth to an otherwise monothematic work, however short. “My Sacrifice” and “Maelstrom Of Decay” manage to insert, always at very high speed, some of the most crooked exchanges of which the group is capable, demonstrating a truly robust instrumental and compositional mastery.
Formally, the band therefore uses well-tested formulas with guaranteed results, managing to avoid an annoying hint of staleness regarding an inspiration that objectively does not present moments of famine. We are certainly not in the presence of a new musical marvel, or of a skilled band in search of new experimental suggestions: “Apophenia” should rather be understood as a work that stubbornly continues a discourse of coherence with its past, in some cases even managing to overcome some critical issues shown in the previous “Casus Belli”.
In this sense, we can consider this work as a success, a new confirmation for a band that has certainly collected less than it deserved in the past, but which proves beyond time that it has more tricks up its sleeve than their more famous Polish colleagues.
Daniel D`Amico for SANREMO.FM