Album: Devourer of the Seven Moons
Released date: April 12th, 2019
Genre: Black Metal
Label: Eternal Death
Abyssic, staggeringly evil, and sinister; those are the words that best describe this third full-length offering from Laguna, Philippines‘ black metal quartet, Omenfilth. If you fellas had been following the Realm of Asmodeus for quite some time now then you might have read the past reviews I wrote for Omenfilth‘s previous materials and you well-know that I have been a fan of this band since I discovered them the first time. Well, this latest release of the band had again caught my attention and it solidified my personal opinion that these guys will arise in the depths of the black metal underground and be on the radar of every extreme metal fan worldwide.
Like their prior “Hymns of Diabolical Treachery” studio album, this latest offering holds that strong Hellenic black metal element that the band has seemed to have harnessed very well as time goes by. The only difference is that this one has a less unadulterated first wave black metal and proto-death metal elements in it. “Devourer of the Seven Moons” is the name that was given to this third opus and it houses 10 menacing tracks, in which one is a cover of Vulcano‘s ‘Bloody Vengeance‘ track and two live songs which appeared on Omenfilth‘s “Pandemonic Ascension of the Ancient Serpent” live album which are actually also originally from their debut “Opus Sanguinarium“. Though this record may not be as very thrashy as its predecessor album, this newest material makes up for its haunting classic black metal atmosphere and soul-stirring melodies.
One can immediately notice that more obscure and darker intensification on Omenfilth‘s music the moment you hear the guitar section of the album from the duo of Necroticus and Deathfiend as the riffs that they had provided in this opus is formulated to produce sumptuous melodies that leads to an intense and more unilluminated consequence. The tenebrous riff-work also intelligibly showcase that strong black metal ingredient that had streamed many parts of Europe during the early 90s. They are simultaneously flowing yet malevolently keen, alternating between leaden harmony and melody and interweaving to the tremolo pickings. To tell you all frankly, even though they are not as saber-rattling as the ones found in the second studio record, the riffs in here really stick in the listeners’ head and they really make this offering a pleasure to listen to.
There is also a good interaction behind the fine work of the guitar department as the solidly built audible bass lines, though it usually just follow the guitars most of the time, supplied by Guiller Morbidslaughter complements the mounting riffs very well with its meaty reverberation and pulsation. That bass echoes distinctly under the tremolo-picked riffs and it provides soundscapes that adds impenetrability to the atmosphere of the whole album. The drum department here is also very effective and convincing. Emil the Dragon thrashes his way through the album and his pounding passionately tears into the listeners on every second of the opus, keeping the whole drumming performance solid and bolsters the pace very well without being oddly complex or groundbreaking.
The vocals are harsh and are generally delivered on that macabre and grotesque 90s black metal attitude, retaining those discordant and piercing qualities that the vocal department already has with Omenfilth‘s previous releases. Deathfiend‘s bestowed vocals in this offering are just being at about the right level that it veritably dispatch a grim sense of morbidity to the whole album and are capable of sending chills down the listeners’ spines. One of the things that I dig about Omenfilth in “Devourer of the Seven Moons” is that the band covered lyrical theme about the Bakunawa myth which is based on the fascinating folklore creatures of Philippine Mythology. This myth about the Bakunawa was first documented by a Philippine poet named Fernando Buyser. As an acolyte of Maharlikan and Filipino Nationalism, I love how the band promulgates Filipino culture by covering this folklore in this latest material. It kind of tells the listeners that Omenfilth is proud of their Filipino heritage.
Going into the production perspective, this opus is a bit cleaner and little more semi-polished, even vaguely washed than “Hymns of Diabolical Treachery“, than the band’s previous releases. The production is somewhat even-handedly of good merit for an underground release that the melodic layers of the guitars coiled with that solid bass lines, efficacious drumming, and wicked vocals are significantly evident throughout the whole run-time of the record.
To end this review, even if there is not that much of that raw intensity and power in here as the sophomore put-out does, “Devourer of the Seven Moons” is a solid offering which should not be missing from the collection rack of any black metal fan who is very into Hellenic black metal. Omenfilth may not be a Greek band, but they sure are on par with those talented black metal acts out there who are keeping the flame of the classic Hellenic black metal music burning strong. I recommend that you grab a copy of this one before it’s all totally gone. This opus flows very well from the beginning that when you start giving it a spin, you’ll probably listen to it until it’s very last track.
“Devourer of the Seven Moons” is a convincing piece of obscure black metal record that contains just the right amount of energy and epic atmosphere to create something that is memorable.