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If death metal is deconstructive nihilism eschewing teleological purpose and meaning in life, "seeking freedom by dropping out of the imposed social order and embracing chaos and entropy" (source: Richard Carpenter), then one of the inherent pitfalls in death metal must be to fall into the eroded groove of 'rebellion first, creative thought' later. When the short intro (which positively surprises by lack of intent) goes over into 'Pestilential Mists' we are treated with a groove that morphs itself sequentially into several riff-themes, only disrupted by an annoying breakdown into standard pummeling. The second time this disturbance comes around however, it has established itself as a bridge to the final theme: a dirge heralding imminence of perishing.
On the second track the aforementioned pitfall establishes itself however. The band finds itself in a groove often fallen into by death metal bands aspiring towards freedom from conventionality. Disjointed parts that gain internal cohesion by simplicity, and intercohesion only by a common theme of being so simple that it's seperate elements have been spontaneously reproduced by the various bands of the early 90's deathmetal explosion, by sheer force of being easy to manifest.
In 'Caught In A Vortex' the band has found essence again however. Introduced to gloom by cavernous acoustic chords, the fuzzily distorted guitars soon overtake the same melody until they erupt with the realised necessity of action. Finding direction in movement the song progresses towards a point where movement becomes frantic untill controlled once more. When the futility of attempted control slowly becomes apparant the song breaks down into chaos once more, untill stillness is found in fatalistically letting control go to the forces that be.
Opening with black metal-esque chromatic riffing, the band decepts into not expecting the following simplistic breakdown in 'Disintegration Of Flesh'. After this the band doomily descends to nihilation, occasionally warning with those annoying breakdowns that the end won't be blissfull peace, and emphasizing with an occasional return of the opening riff that death is ever malicious.
Death is ancient, and the end carries no new message, no profound meaning that wasn't apparant before Abhorrence from Finland redirected thought towards it.