In the fateful days of the pandemic, many-o band stepped back and evaluated their future. Would the pandemic mark the end of a band? Would the frustration of lockdown add more fuel to the creative fire? Or is it a time to reflect, change musical directions, or push the boundaries of one’s sound? For Exmortus, it appears it was a little bit of everything, considering we haven’t heard a full-length from them in five years. Though not a long period for a typical band, it’s uncommon for these thrashy, neoclassical wizards. Since 2008’s debut, In Hatred’s Flame, these Californians have been on a consistent schedule of two-to-three-year blocks between releases. What the pandemic did for them is let them evaluate how they write and record their music. The result is a harsher vocal approach, darker lyrical themes, and a flow that ties the songs together rather than make them feel like individual singles—which plagued their last two releases. But will Necrophony be all they hoped for? Or will it be another impressive display of guitar work that doesn’t translate into a memorable album?
If you haven’t heard of Exmortus, they came on the scene as an interesting combination of Arsis and Yngwie Malmsteen. With harsh, deathy vocals and neoclassical character, they began harnessing their style into records of swirling, whirling, technical thrash. While many would argue the ranking of their discography, it’s hard to deny that 2014’s Slave to the Sword was peak Exmortus. This neatly-packaged album showcased the very best Exmortus can be. With two follow-up albums since Slave to the Sword, the band continued to wow and amaze with their impressive noodling. But, as suggested earlier, they’ve yet to create a concise, flowing album like Slave to the Sword.
After the pandemic reflection, it’s clear that was a top priority on Necrophony, as there’s a general, dark theme from one song to the next. Even the vocals are a touch nastier compared to previous releases. This is good news for those that enjoy the music but have always had issues with the vocals. I don’t mind them either way, but I do know this is a thing. The instrumental opener, “Masquerade,” sets the tone of the album, introducing a haunting bass lead and eerie melodic guitar work. The album erupts into a thrashy charge at its conclusion with the follow-up track, “Mask of Red Death.” As expected, the guitars are a vortex of technicality and intricacies, playing off one another before uniting in the hooking chorus.
The chorus on “Mask of Red Death” also hints at what’s to come for the rest of the album. Simple, slightly repetitious, but effectively catchy. The catchiest being the bass-heavy, thrashy, and melodic “Prophecy.” Crushing guitar work mixed with passionate solo passages makes it a highlight on the album. Though, the choruses on songs like “Mind of Metal” and “Darkest of Knights” linger far too long, repeating their slightly lame lyrics too many times. “Mind of Metal” also suffers from some awkward vocal passages, sometimes making the song jarring. That said, the outro is absolutely mindblowing in technicality. “Darkest of Knights” is one of two epic songs on the album, clocking in at over eight minutes. But for all its riff changes and noodling, nothing interesting happens until we pass the midpoint. Its punchy, Arsis-y vocal approach ties nicely with the marching bass and drums before exploding into the final iteration of the chorus.
The other long track, “Children of the Night,” fairs better with its catchy chorus and seamless transitions from thrashy overhauls to full fretboard mastery. The closing title track also provides some standout moments, taking some viciousness from old-school Arsis and combining it with Malmsteen ejaculation techniques. And, as with most Exmortus records, they’ve even snuck in a classical piece to put their spin on. This time, it’s “Storm of Strings,” a rethinking of Vivaldi’s “Summer.” Which ain’t too fucking bad.
While Necrophony flows better than its two predecessors, some fat needs trimming. For example, the aforementioned “Darkest of Knights” is too long, and I almost wasn’t interested until it finally started showing life on the backend. Furthermore, the “Oathbreaker” single does nothing for me, and “Mind of Metal” annoys the hell out of me. But if you can tango with these guys, there’s more than enough on Necrophony to enjoy.
Rating: 3.0/5.0
DR: 6 | Format Reviewed: 192 kb/s1
Label: Nuclear Blast Records
Websites: exmortusmusic.com | facebook.com/exmortusofficial
Releases Worldwide: August 25th, 2023
