We have anticipated the return of this Brazilian entity for some time, and I must admit that Fossilization has unleashed frantic fury; now, guitarist, bassist, and vocalist V. is at the helm of songwriting, and the newly joined member, guitarist Z., has formed an unbreakable bond. The drums on the album were recorded by F.

Fossilization strikes mercilessly on the opening track “Cremation of A Seraph”, overwhelming the listener with rapid blast beats, thick tremolo chords, and brutality that rejuvenates the sound and the direction of the band from the previous releases. The duo has ensured to deliver a crushing blow. Of course, this doesn’t mean that Fossilization has abandoned its death doom traits; instead, they focused on a variety of styles from pummeling death metal while still maintaining the slow and gloomy atmosphere that funnels through the mid-tempos.

“Disentombed and Reassembled by the Ages” puts more effort into the riffs and is fully laden with cavernous doomy riffs. The track progresses and flows through creepy ambiance, guttural growls, and showcases the outstanding talent of combining tremolo-picked riffs, which are plentiful. The pummeling rampage of blast beats and crushing double bass is backed with scorching riffs; the scathing tone of the guitars is remarkable; however, Fossilization brings the fury back loud.

For example, “Scalded by His Sacred Halo” conveys many blackened death metal elements to provide the atmosphere that encloses you in a miasma of smoke.

The songs rumble through the Incantation-Esque brand of death doom; every pace is measured to the standardized doom-laden riffs. The morbid sense of eerie passages is well-placed in the tempos, the musicianship, and the new direction of the album will please those who have anticipated this return. The vocals utter low growling, which then results in intense drumming fury; the brutal riffs that follow reveal new aggressive patterns on tracks like “Terrestrial Mold”.

The drums, continuously blasting away while the riffs relentlessly blaze, and the tempo takes its seismic, furious tone. The complex patterns in the drumming and technicality are apparent this time, and it seems that the duo has tightened the bolts; the same can be said about sludgy riffs and the tremolo picking.

The production enhances the atmosphere; however, there are moments when the guitars give you the chills, and there are some unique dark touches that fill the gloom, contrasting sharply with the onslaught of drumming. Regarding the sound of the album, there is a great mixture of different styles inspired by U.S. death doom bands, and this is one of the aspects that conjures a dark atmosphere. Before the drums shatter the ground beneath you, “Servo” builds up slowly and begins with an otherworldly and cinematic opening.

The drums of war echo loudly as the tempo picks up rapidly, with a monstrous hammering, and the deep grunts provide power and depth to this crushing track.

Brilliant musicianship has been crafted to make each song stand on its own pedestal, and the atmosphere reeks of foul stench when looking at the album’s cover art. The musical vision renders an absolutely monstrous record without sounding too modern or technical, and the final two tracks, “While the Light Lasts” and “Temple Of Flies and Moss”, are amongst the best tracks.

The slow and calculated build-up offers a more structured mid-tempo track, without losing the cavernous atmosphere. In addition, the drums pummel you continuously; the entire load is put on the riffs, which effectively create slow, catchy passages, filled with doom-ridden suspense and brutality on the closing track. The atmosphere of old-school death metal oozes a black sludge, and the drumming is brutal.

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