I think its safe to assume we are all collectively glad to throw 2016 to our backs – a sentiment that, by the time this review is published, will be about as moot as my country’s Liberal Party. Seemingly for the majority, the previous 12 months was a globally testing time and, sadly, I can’t report otherwise. I certainly won’t be sorry to bid an acrimonious farewell to a year full of poor personal decisions and even worse ramifications. The renewing of the annual cycle is, however, an opportunity to right all wrongs, and with that I embark on a mission, nay, quest, to rope-a-dope the shit out of 2017. So while the gross mass of Snapchat toting, festering virulence that metalheads refer to as “everyone else” is busy pretending anyone cares about their overzealous New Year’s promises, invoking Carrie Bradshaw as their spirit animal, I opted to keep things real and begin 2017 with a musical chop to the cerebrum, sure to blast the gossamer and clean the pipes. Introducing Chile’s very own Infamovs, champions of that perennially classic style of exhumed, grave dusted death metal, which we all love to love. And, yes, I did spell the band name correctly; you’re going to have to be extra kvlt to read this one.

Debut Under The Seals of Death is fit to burst with a case of the old schools and a clear love of a more brutal death metal. The band ushers Seals in with the obligatory throwaway intro track until the album begins proper with “Dawn of the Black Dance.” Drummer A.M (yep, initials only, guys) bursts out with a record-long bacchanale of blast beats before the track slows the pace into some darkened doom. This abrupt alteration, coupled with F.U’s monosyllabic, cavernous vocals conjure up obvious comparisons to New York legends Incantation, until the track re-accelerates into the bands comfort zone of face melting speed. The seat of the pants riff-work stays fairly true to form on the entirety of the album, ceasing only occasionally as in  “Call Upon Blasphemovs,” where at the halfway point the guitars take a welcome turn into a staccato chug, riven by the rumble of the vocals.

By and large, the album blurs by in something of a whirling, percussive haze, although eventually some influences do begin to make themselves known. There’s a definite flavor of early Malevolent Creation in some of the rhythms – “God of Pestilence” features some of the albums best riffs and straight Azagthothian soloing. The leads take on the same dissonant, wailing polyphonic tone as heard in Domination and add some much needed diversity to an already dense album. With the odd exception, Under the Seals of Death doesn’t really feature that many discernible ideas. The bands opts for a classic sound and reinforces it with a huge rhythm section, and this works to a point. “Of Force and Plague” features an absolutely punishing onslaught of militaristic blast beats, which are closely paralleled by an array of palm-muted chugging. I listened to this while working out and after finding that I had bench pressed 3 bison and the great Steel Gorilla himself, I can report it had the desired effect on my adrenaline levels [Kindly post all your bench press stats in your next review.Steel Druhm]. It was only upon closer inspection that I realized that the record’s intensity actually fosters a dearth of great riffs. The hooks that do stand out are, in fact, incredibly limited, highlighted only by the homogeneous chaos that makes up the main corpse of the album. My appreciation for the fairly simplistic changes in tempo were magnified because the album had me starved of them. It’s basically a riff of attrition.

As an ode to the style of music they play, Infamovs sought to fit the album with a suitably old-school production job. Although, clocking in at DR6, it has a distinctly early 90’s feel, with the vocals sitting squarely in the middle of the mix, making room for A.M and his kit. The drumming on this record is the undisputed highlight, arming much of what is, frankly, often quite faceless death metal with real teeth.

Under the Seals of Death is an album by a band unashamed to mash their influences into one and wear them proudly for all to see. The only problem being that they seemed to leave out any of the raw ingenuity that informed that first wave in the first place. Infamovs deal out a sufficient beating – but since when was sufficiency an efficient efficacy in a world of brutality?


Rating: 2.5/5/0
DR:6 | Format Reviewed: 320 kbps mp3
Label: Memento Mori Records
Websites: facebook.com/infamovs.deathmetal
Releases Worldwide: January 23rd, 2017

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  • Since bands named themselves after classic rap albums of the 90s? I’m going to go listen to Mobb Deep.

    • Diabolus_in_Muzaka

      Slick record, that. Speaking of which, The Lox (remember them?) put out new stuff at the end of 2016, one song had Mobb Deep on it.

      • PanzerFistDominatrix

        For realion? Nice, I like Sheek Louch :-)

  • Diabolus_in_Muzaka

    Spot-on, quality review. This sounds cool, I’d see it live, but would sooner throw on their influences if I wanted to hear a full-length. Bands like this would do well to stick to EPs.

    • Ferrous Beuller

      Thanks, man. I totally agree – this has a touch of the Angelcorpse in that it’s not bad, but it’s all one gear.

  • Chigo

    I’ve long grown tired of most “retro” trends in metal (e.g., re-thrash, fuzzed-out occult rock), but not OSDM. Each new possibility still excites me. Sure, many of them turn out to be generic and forgettable, but as long as every now and then it produces a Horrendous or a Dead Congregation, I say keep the trend going!

  • Reese Burns

    “As moot as my country’s liberal party”. Canadian, eh?

    • Ferrous Beuller

      Worse – British.

      • Reese Burns

        Oh boy.. rest in peace. Our liberal party is left-wing in name only, and the lot of them are liars to boot, so we’re definitely frustrated with them.

        • PanzerFistDominatrix

          The Lib Dems in Britain would probably frown upon being called left-wing. The term liberal tend to mean very different things on each side of the pond.

          • Reese Burns

            Ah, well over here, our liberals sold themselves on one of the most progressive platforms our country’s seen in ages, then spectacularly failed at meeting any expectations we had for them.

          • PanzerFistDominatrix

            Come to Scandinavia my child, come, Bernie Sanders wants you to do it… we have prime cut bacon, A-list death metal and progressive wellfare states to boot.

          • Reese Burns

            You know, I’d love to. Yall have yourselves a beautiful country there!

          • GardensTale

            Or just come to the Netherlands, where we’re so free we can fuck a prostitute while smoking a joint with a cop in the room and leave as free as we entered.

          • [not a Dr]

            As I see it, here in Canada it just means “the other conservatives”.

          • PanzerFistDominatrix

            Come on now, you’ve got a pot smoking snowboard instructor as prime minister… what, is it 4:20 already?

          • [not a Dr]

            Apart from the theatrics, I haven’t noticed any real difference.

  • Thatguy

    Haven’t listened to this yet – I am at work, but the band photo says 1.5 to 2.0 by the Thatguy Bandphotometer.

    The review was good though.

    • Juan Manuel Pinto Guerra

      There’s an Italian band named Vultures Vengeance. I really hope AMG reviews it so you can apply your Thatguy Bandphotometer to it. The band picture I saw is worthy of an AMG article by itself.