Right after the eerie intro “Emanations” the frantic tone of the guitars, blasting drums, and echoing vocals offer devilish blackened pandemonium on the following track “The Architect and the Monument”. The riffs on the album are electrifying and struck with feverish aggression as the songwriting feels inspired, and the guitars deliver some chaotic solos creating something that is truly classic. The ability to layer extreme old school riffs never breaks from the upheavals of the tempo. Daeva brings out tons of energetic riffs that will attract fans of 80’s thrash metal. There is plenty of inspiration from bands like Kreator, Absu, and Aura Noir, the guitar riffs possess the appeal of primitive black/thrash metal. Next is “Arena at Dis” which is furiously raw, the drums on this track pummel with bold aggression, one of the aspects of the music is that Daeva conveys some authentic experience.

In contrast, the riffs and the frantic drums embody a qualitative approach hence following the classic tradition of the early wave of black metal. “Through Sheer Will And Black Magic” draws its influence from the early Swedish black/thrash metal bands, despite the songs sounding quite extreme the tempo alteration are in abundance here. “Passion Under the Hammer” then kicks off with a scathing riffing assault, in line with the modern black/thrash metal bands Daeva succeeded in injecting some vital elements into the composition. The wicked vocals of Edward Gonet are spiteful and spot on but they also demonstrate the demonic side of the music.

Throughout the album’s duration, the quartet gives a stunning performance. At the same time Daeva sets up some fiery tempos drawing your focus to the dynamics and the drums vigorously carrying forward with the hammering beats. Even when the tempo settles into a slower pace, the drums and vocals create a wicked sense of blackened viciousness, the role of guitarist Steve Jansson in adding some ambiance air is remarkably performed. As musicians, Daeva is crucial in their thrashing madness. “Loosen the Tongue of the Dead” starts at such an extreme tempo with the blazing guitars peppering the wall of sound as the demonic vocals capture hellish fury.

The drums erupt into violence, bringing some savage brutality to your face, and the rhythm guitars and the bass are syncopated with some sharp drum attacks. Daeva exactly knows when to increase the tempos and the songs never lose their intensity. For example, “Fragmenting in Ritual Splendor” combines some killer guitar hooks, the track boasts some blackened dynamics but with the drums and ascending guitar solos delivering rapid chords. “Through Sheer Will and Black Magic” benefits from a modern approach to the production and the clarity of the instruments.

“Polluting the Sanctuary (Revolutions Against Faith)” proves how Daeva sounds authentic and raw while the guitars perfectly mastered a very complex method of solos. Midway through the song, the guitars throw some catchy melodies that build into a dense atmosphere. The band has developed a perfect fusion of old school and modern black metal which by now has become the prominent feature of Daeva’s sinister style. There is also some great drumming on the album that is backed by a steady and audible bass line by Frank Chin. Although it comes as no surprise that Enrique Sagarnaga adds classical rawness to the songs, making use of double bass, blast beats, and cymbal work when necessary. “Itch of the Bottle” is an example of his drumming technique while the mid-tempo overflows with energy the guitar inserts some hooks. The galloping madness contributes to “Luciferian Return” which is the longest track in the album spanning seven minutes, speaking of the guitars there are great hooks and plenty of memorable moments along with the drums that give the song an organic raw feel.

Links