Damnation Scythes of Invincible Abomination

Gene Palubicki has added 'Apocalypse Command' to his resume, which is quite substantial to begin with given the fact he is the riff-father of Angelcorpse's many great tunes. While this band is no different from Perdition Temple, that does not mean the songs here are mediocre. Atonal dissonance is omnipresent. The rhythm is generally compelling and the solos are employed sparingly.

Warhead does a decent job behind the kit. He plays with such precision that there is hardly a moment he misses a beat. Shifting from gas-operated machine gun blast to trampling mid-paced double bass, Warhead has added a little flavor in his cymbal works. However, the drum sounds like it is recorded underwater. The snare in particular has that overstretched plastic sound to it. Still, his performance is praiseworthy. The fills are very well executed especially on tracks like 'Mayhemic Overkill', 'Onslaught of Invincible Evil' and 'Empress of Butchery'.

The riff is constructed according to the blueprint laid out from previous project. On this album, Palubicki has the ability to exercise artistic freedom on a level that he has long since desired. The tone is of course similar to 'Of Lucifer and Lightning' but with added midrange to embellish the massive structure on which each track stands strong. Many would call this tone as Morbid Angel-esque. Majority of the songs are bludgeoningly savage; something that is to be expected from Palubicki. Indeed, his fret-work sounds exactly like the band's moniker; apocalyptic command from the bowels of Hell itself. The solos are rebellious in nature, wild and unchaste. Any project that he has been working with or is currently writing songs for, expect no less than solid performance delivered with voracious frenzy. 'Damnation Scythes of Invincible Abomination' has just that.

This album features in-your-face battery crowned in a halo of putrid blood. It is packed full of explosive energy thanks to its lethal primary ingredients manufactured by Palubicki, which are then detonated with Warhead's brisant footwork behind the drumkit. The half-growled vocals are vibrantly clear and you can easily make out what he says.

One thing I find unsettling about the album is none other than the bass. This particular instrument easily disappears into the background. But, there are times when the bass suddenly appears on the front mix while the calculated chaos is swirling in never ending vortex of destruction. 'Lust Vengeance Death', 'Temple of Apostasy' and the opening track are among the examples. It was weird if you asked me. There has got to be some fluke during the mixing process that causes this to happen. This album would sound a lot better if the bass is pushed to the front a little bit because the production is rather flat and dry.

Overall a decent enough record with strong musicianship and performance. Although I must say this could have been a debut album for Perdition Temple since both are masterminded by the same song writer.