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Another great Swedish death metal band - 81%

robotiq, January 27th, 2021

This album was the curtain call for the first era of Scandinavian death metal. Gorement took from the crusty old sounds of early Entombed, Grave and Afflicted. They also drew from the earliest At the Gates material ("Gardens of Grief"), and the second Paradise Lost album ("Gothic"). As a result, "The Ending Quest" sounds nothing like the average mid-90s Swedish death metal record. It was recorded before albums like "Lunar Strain" and "Skydancer", and before Entombed released "Hollowman". It therefore contains no traces of Gothenburg melodies or death n' roll.

This is a quintessential 'lost gem', hampered by poor timing and poor distribution. The album was released fifteen months after recording; an unfortunate delay. Black metal was peaking in 1994 and the golden age of Scandinavian death metal was over. The band's German label (Crypta) may have been culpable, failing to promote Gorement any more than they promoted other talented death metal bands on their roster (Amboss, Chemical Breath, Media in Morte). Circumstances break bands, and Gorement also lost their talented drummer (Mattias Berglund) shortly after the album came out.

Musically, this is tasty old school death metal which oozes melody and atmosphere. Like many debut albums it contains older and newer material. The crusty death metal of the band's first two demos is represented in "Darkness of the Dead", "Obsequies of Mankind" and the mid-paced thuggery of "Human Relic". The two more complex songs from the seven-inch appear too (with a better recording than before). There are five new songs. These range from the Grave-like brutality of "Vale of Tears", to the Afflicted-ish technicality of "My Ending Quest", and the melodic death/doom of "Silent Hymn (For the Dead)". Gorement tied these threads together into a seamless, effective album.

Long-time collaborator Dan Swanö was not involved this time. Gorement went to Delta Studios in Germany instead, following in the footsteps of other Crypta death metal bands. The production traps the band between two different, opposing death metal recording aesthetics. They retained the vital Scandinavian 'crunchy' guitar tone, but with a sheen similar to other Crypta/Delta albums such as "Fatal Exposure" or "Those Who Have Lost the Right to Exist". The result is passable if not ideal. The guitar sound is chunkier than on the "Into Shadows" seven-inch but it lacks the texture of their two early demos. More significantly, Berglund's drums sound sterile and over-processed, particularly the bass drum. This scuppers his natural power and flair.

The best parts of "The Ending Quest" are astounding. A song like "The Memorial" mixes the speed of old Entombed with the contorted riffs of early At the Gates. "Sea of Silence" is excellent melodic death/doom, comparable with contemporary Anathema or Katatonia. There is enough variation throughout the album to keep any kind of death metal fan happy. It isn't perfect, but its failings are relative; Gorement lack a song-writer of Gregor Mackintosh's calibre, a guitarist with the warped vision of Alf Svensson, and a vocalist as distinctive as Tomas Lindberg. Still, the album deserves a cult following and it occupies a place in the death metal tapestry. This record is sure to impress fans of the aforementioned bands, or the debut albums by Sentenced, Amorphis and Darkthrone. Good album.

Brutal Paradise Lost - 95%

Hames_Jetfield, January 11th, 2021

The Swedish Gorement, which has not existed since 1996, is now a long forgotten band, and if they had only debuted three years earlier, it would have been possible to talk about them in the context of "mega influencers". It was a great loss, the more so that the guys were absolutely not inferior to the better-known level, and in addition they had their own unique style - and unfortunately, few bands could choose the best moment for their debut. Anyway, they managed to release such a gem that makes an electrifying impression even today! This is because it is an album that perfectly combines Swedish and melancholic sounds.

Associations with Gorement's music immediately go towards the early Paradise Lost (with the difference that it's much more brutal) and names such as God Macabre, Demigod or early Amorphis. It's just that all these are loose associations, making it easier to define the style of the Swedes - Gorement offered much more than the aforementioned bands! Yeah, you can clearly hear the desire to show something different and that with Paradise Lost melodies, numerous slowdowns (although there was also a lot of place for blasts) and acoustic sounds, but still with brutal and quite "primitive" patterns.

Even where the band played more traditionally (e.g. in "Obsequies Of Mankind", "Human Relic", the title track or "The Memorial") it's difficult not to notice the very specific mixing between dynamics and climate - something is what makes Gorement different compared to other bands. The mood of the whole is also depressing. Well, by basing death metal on mournful climates, it could strip the music of brutality and introduce too teary melodies. Not in the case of Gorement! They knew where the limit of good taste was. Every time I listen to "The Ending Quest" I am only surprised that such interesting material did not make a sensation. Only a few appreciated it, which is a pity, because there is a lot of outstanding music on it.

P.S. Interestingly, with the release of "The Ending Quest" Gorement's story did not end. A year later the band released "Promo 95", which included three completely new songs ("Garden Of Delight", "Profound Harmony" and "Soulless Sanity") with a view to a possible second album. It was obviously nothing bad, but they clearly stood out from the style of "The Ending..." and presented a lower level - they were closer to some melo-death/death 'n' roll than death metal. Currently, they can be found on the compilation "Within The Shadow Of Darkness - The Complete Recordings", which includes all the recordings that Gorement made during its very short activity.

Originally on: https://subiektywnymetal.blogspot.com/2020/05/gorement-ending-quest-1994.html

Death metal's lost lore - 98%

we hope you die, April 3rd, 2020

Disclaimer: Sorry to be the one to break this album's perfect MA score, but there's only about 5 albums in the world I would give a full 100% to, and sadly this falls just shy of being one of them. What can I say? Life can be very cruel.

Gorement are another of the Swedish cannon that proved to lack the staying power of their more well-known countrymen. But their sole LP from 1994, ‘The Ending Quest’, is a significant album by any metric. The production, whilst not exactly raw, is definitely rough around the edges. The guitar tone is muddy as fuck, but this suits the mid-paced death metal that blasts out of the speakers; as long, sustained chords carry along doom laden leads that invoke the inevitability of our existence. In what feels like the true legacy of Bolt Thrower, Gorement make use of basic shifts in tempo from chaos to order to downright sluggish, and exploit the spaces between to create drama and majesty out of the simplest musical components. But where they really shine is how they build on this simple framework with a more sophisticated approach to narrative compositions. Whilst a lot of Bolt Thrower from this era is among my favourite in extreme metal, there is no denying that their approach was often deliberately simple in order to convey the illogical and brute horror of war. Gorement are aspiring to a more epic and transcendental artistry on ‘The Ending Quest’.

There is a clear theme tracked through each work on here, one that is usually driven through several variations by the rhythm and lead guitars, before being cut into pieces and dissected at the mid-point, and then brought back to life for the conclusion. Because this technique is consistently yet creatively applied throughout the course of the album there is a clear conceptual unity that can be followed by the listener despite the differences that become apparent as each track takes shape.

Like all death metal it acknowledges the sheer horror and ugliness to existence, and this is carried in many of the opening riffs to these tracks (and in the no nonsense mix), but from this supervenes wonder and revelry. Although Gorement reference melodic doom in the direction that many of the tracks take as they progress, there is an ever present bounce and energy to the rhythm section that not only gives the music an undeniable energy and drive, but also a sense of overpowering joy. This is true of much metal at its best. Despite it being an archetypal product of modernity, it is a vehicle for (usually younger) citizens of industrialised nations to tap into older, pre-rational perspectives. Part of this is conveying the dangerous beauty in life. The presentation is everything that polite society is supposed to find ugly, because it looks back to pre-Christian values. The animalistic vocals, the guitars distorted beyond reason, the drums that conform to rhythms and time signatures unsuited to civilised notions of dancing or relaxation. Gorement on ‘The Ending Quest’ exemplify all these thing, insert a consistent and mature aspiration to use these primitive tools to convey a sense of humanity’s wonder and horror at the world they find themselves in.

Much has been written about the old school revival that has by now – let’s admit it – played itself out. But despite some genuinely valuable works coming out of this period, it was a very specific idea of what the old school of death metal really was. There was more than just death/thrash metal and Autopsy going on in 1990. Although the pedants may wish to point out that ‘The Ending Quest’ having been released in 1994 was really the tail end of death metal’s heyday, it was tapping into untold potentials within death metal that sit within that mid-range that is at neither end of the spectrum when it comes to extremity. Because the focus is not on being the fastest or the most polished, the dirtiest or the slowest, Gorement were able to work away at their craft under everyone’s radar, until they had achieved simple but not simplistic works of sophisticated and nuanced death metal with no gimmicks and no weak points. ‘The Ending Quest’ taps into something profound, eternal. These frankly intangible qualities elevate it above other classics simply because it transcends its own genre and time in a way only a few albums have managed to do over the decades.

Originally published at Hate Meditations

Can Gorement's Album Reach 8-0 at Wrestlemania? It Just Went 7-0! - 100%

EvilAllen, March 3rd, 2020

Gorement were a Swedish death metal band. And as underrated as these fellows were, they left a memorable piece in the underground scene of metal. This album will make your organs decay with maggots and eventually load you with more holes than swiss cheese. Or as some intelligent criminals would say "I'll put so much lead into you, you'll turn into a toy soldier!". No, I'm kind of kidding on that point. I don't even know if I said that correctly. It was from a colourized episode of Dragnet 1967-1970 (not the black-and-white versions). Seems that (before he lost in 2014) The Undertaker's Wrestlemania streak was the only thing that could go toe-to-toe with this band's (perfect) album.

This album is pure perfection. If you want to hear something that's flawless, don't turn away from "The Ending Quest" (1994). It would even give Death's "Symbolic" (1995) a run for its money, easily. It could potentially win, too. The production has a very strong structure. A lot of low-tuned, fuzzy guitar riffs that almost resemble old-school doom metal. With some high-pitched guitar riffs that are prolonged and unpredictable. The bass contains an relentless amount of unforgiveness, as it bashes your ears until you go entirely deaf and even modern-day surgery couldn't save you. The drum patterns are very slow-paced and have a lot of verity in the band's percussion. The general production of this release, is pretty much on par with low-budget bands that have a decent sound. Which isn't a bad thing, actually. I like the semi-fuzzy febrication that this album brings to the table. Guitar riffs are technical from time-to-time, then it seems that there are a lot of tempo-changes featured into each song to, which gives an in-depth idea of the band's creative potential.

Onward to the album artwork, the artwork is either a statue, or someone posed as a statue. I couldn't tell you. However, I can tell you that the artwork has a lot of contrast in its colouring because the blue is exceedingly overwhelming to look at, which I like in this case. Some bands like Gorement are only around for a brief time and then they either change their name or completely disband, forevermore. And well, a lot of us always want more from bands like these, it's always better that a band do well, continue to do well for a little while, and if they should stop before they go through with a bad idea, probably best to just quit. Because why smear your band's perfect image, you know? You got bands like Emperor and Death, that are almost entirely perfect with all good releases...and quit pretty early in their careers for various reasons. Gorement falls into this category with no issue. Gorement are, well, at least in my opinion, memorable in the underground scene.

If you're a fan of underground death metal, and if you haven't heard this band's album yet, you really are missing out. And to be fair, it's not my fault you're missing out, it's your fault. Now, please... Go and dedicate a fraction of your day to pay thanks for this album's existence. And if you don't, then I guess you're a fucking asshole. If I were to compare this band to any other...three that come to mind first, are Morta Skuld, Tyrant Trooper and Crypt of Kerberos. All three of those bands share the same production, the same vocal style and same melodies structures. At least in my opinion...I'm still entitled to those...right? Or are you going to get offended and infringe on my basic right? Pfft...whatever.

I've streamed this album on YouTube, just like everyone else does. I've never bothered searching for this on CD, but I probably should. This album has some of the best guitar riffs I've ever heard, period. It takes a lot of amazing, yet very talented people to create an album that everyone can respect. Musicians just don't make songs like this anymore...and it's just a damn shame, really. If anyone reading this ever sees this on eBay or in a CD shop, and if the price is at least realistic, and if you want to own a copy of this amazing piece of death metal history, please grab yourself one. Don't be a dick and wait until the CD shop closes so you can get it for free...if you get my drift?

Ever watched "Dragon Ball Z"? Then you probably know who Perfect Cell is...picture him listening to this and saying this one very simple quote... "Perfection"... If that doesn't convince you, then you really are retarded. That concludes this review of mine, everyone. I hope you take some time out of your day and appreciate this piece of music, it really is a masterpiece...and then some...that, I can tell you...believe me...

Perfect death metal - 100%

Kaleidozcope, July 11th, 2018

This one is one of my favorite death metal release ever and I´ll tell you why. Gorement was a Swedish death metal band that started playing at 1989 under the ridiculous name of Testicle Perspirant, but they started to get attention in the underground scene with their demos "Human Relic" and "Obsequies...". On those demos, Gorement had a more typical Swedish sound thing that is not bad, but the band would improve A LOT with their album and mythic debut "The Ending Quest".

"The Ending Quest" doesn´t sound too Swedish on the production or guitar tone, this is not your buzzsaw Swedish death metal recorded in Sunlight Studios. Indeed Gorement are closer to a "finndeath" style than a Swedish one. They practice a very low tuned death metal with doom metal influences, the groove and some tempo changes remind me structurally the music of their country scene (Sweden).

The thing that blows me more my mind is the synergy that these musicians have. It´s absolutely incredible. The bass is very audible and it is synchronized perfectly with the rhythmic section. The cohesion and understanding of how to do a death metal record are top notch. Very few albums know death metal this well. Gorement aren´t innovators. They grab influences from several bands and blend it wisely. This is an example of a group that perfects everything that has been already done and take it into the stratosphere.

Another point that makes "The Ending Quest" aside the faultless instrumental performances from all the musicians is the atmosphere that creates. The ambient is gloomy, REALLY dark, quite depressive, but incredibly relaxing. There is something here that makes the music chilling, a similar thing happens with "Silence of the Centuries" by Depravity. A death metal album that makes your imagination fly and transport you to other places is gold. Its weight is worth in gold, adamantium, diamond or whatever the hell you want.

The lyrics are outstanding, they are poetic, sorrowful yet beautiful. It´s very rare to find an album in this genre with such lyrical content. Oftenly in death metal the bands write about zombies, horror movies, gore, satanism, occultism, etc. and is not a bad thing I really like bands that take these horror aesthetics, after all we are talking about death metal and it´s normal to have lyrics of "death" to scare people, but I appreciate when a band goes against the flow and try to make something different, but without losing the focus or forgetting the type of music they are playing. Gorement does not forget the type of music they are playing, they know what they have to do, but they know what they have to do to be different, creative and in certain way rebels in a musical movement that is supposed to be a rebel. Going against the flow in a place where everyone is going against the flow.

"The Ending Quest" is as good as "Left Hand Path". I´m not comparing them directly with Entombed because they sound very different. I´m comparing the quality, the songwriting and the understanding of how to compose perfect death metal.

If you haven´t listened to this. What are you waiting for? Go and check this out. If you are an old school fan this will blow your head off.

Gentle Death Metal - 100%

tylr322, June 21st, 2017

This is what comes to mind whenever I think of this album, although the atmosphere is tremendously thick, there is something beautiful and gentle about it, like floating in a sombre and dreamlike state. Right from the first to last note, this is the reason to listen to Swedish death metal, more specifically obscure early 90s Swedish death metal. What an especially inconspicuous time period for this dismal work of art to be offered.

Now this is a death metal record and it has death metal riffs, extremely dark and dense ones, but it's the forlorn melody and almost seamless swaying back and forth in these hymns to the dead that is so impressive. It's every instrument creating such a mood as well, the little occasional bass interludes that help induce some sort of intrigue to the whiny, emptiness of this journey to darkness, eg "The Memorial" or "The Lost Breed". There is a frequency in transition from murky slow passages to the desperate intensity of the tremolo riffs, with no atmosphere being forfeited. The lyrics reflect the sound they achieved in that they are not brutal nor hateful, more sad, lonely and reclusive.

"I stand here and watching the mist-covered landscapes
Lonely forever more
The sun is arising on the blood-red horizon
My anguished cry echoes inside"

If that doesn't resonate with your introverted and dissociated self, then you're not fully appreciating this album. There is no filler, nothing resembling anything like filler. From start to finish this is a landmark of what could be achieved by a group of long haired Swedish gentlemen in the 90s. It amazes me that albums like this exist, you just wouldn't think a death metal album that could be so beautiful, and yet you discover it and are locked into the obscurity and bleakness of it.

I don't want to say this is "the best" Swedish DM album, I'm just going to simply score it 100/100, that rating was based on me thinking of what I dislike about this album. There's simply nothing, it's perfect.

The Ending Quest: “Gothic” Swedish Death Metal at - 100%

KingZombie666, September 2nd, 2014
Written based on this version: 1994, CD, Crypta Records (Limited edition)

Gorement is a well known band among those who appreciate the underground Swedish death scene. Their style of playing Swedish death is closer to the Gothenburg one, but with a punkish and more brutish edge. Yet, what is commendable about their 1994 release called “The Ending Quest” is the manner in which they have literally become one with darkness.

By this I mean darkness embodied in a gothic way. And by gothic, I use the term in the sense the word was originally conceived of, so as to designate what is considered frightening. This is an eerie sounding record creating a solemnly macabre ambiance. And the eeriness of the whole record is meant to represent the way in which the fear of death is expressed and experienced. In other words, the band has created a soundtrack for both the passing away of someone and how that dying soul submerges itself into obscurity forever. Absolutely brilliant.

The sound of Gorements’ style is kind of the perfect crossover between Entombed and Grave with some elements that seem to have been taken from overseas, more specifically, from US doom and death metal bands. Among such elements are the well placed pauses that create the much needed cadence between riffs and blast beasts to make the brutality more digestible and easier to appreciate. But Gorement also includes some sad melodic riffs and keyboards (and other sound effects), which add up to the overall sensation of gloom and lifelessness. The riffs and drumming are aggressive and dominant and the voice feels like a choir of crying suffering souls. The bass, curiously, is somewhat more noticeable than what one would expect in a death metal record. It adds to the sensation of despair just fine.

My Ending Quest is a killer intro. It sets about right the general mood of the whole recording and one can easily catch what the band intends to do for the rest of the album. It could even pass for a song used in a funeral march. Half way into it, the brutality begins and one is immediately blown away by the sheer might and technicality exhibited by the drummer and the main guitar. From then on, the songs up to Sea of Silence continue a similar structure: Very aggressive riffing and deranged drumming with deep and melodic chord progressions to create a melancholic and weeping sound and a paranormally ghoulish voice that creeps in between the instruments. The Memorial is the most conventional of these, but it does not lack merit. This song is more typical in the Swedish death way, but it is also very potent and has tremendous riffing. The Lost Breed is another great track, with riffing similar to Benediction and mighty drums.

Finally, in the last three songs, we can hear a significant break compared to the feeling of the previous songs, with the sound getting more abstruse and somewhat disharmonic. Obsequies and Darkness are incredibly obscure and more violent songs compared to the previous ones, making The Ending Quest scarier and more psychotic than it was. They also feature dissonant riffs that sound like the soundtrack of an old horror movie and the riffing at the end of “Darkness…”, mixed with the twisted keyboard, is truly unnerving and unsettling.

Having said all this, “My Ending…” is an amazing record. The Swedish sound can be easily recognized but the band incorporates a more varied set of notes and chords to create a darkly atmospheric sound rich in creativity and with the right dose of malevolence and savagery. This record will be hard to comprehend for those seeking a viler and more punkish or trashy experience, but for those willing to experiment with a different approach to make Swedish death; this will be an excellent album to start with.
100/100.

The Definition of Perfection - 100%

DagZeta, November 19th, 2011

Though my collection isn’t nearly as expansive as I’d like it to be, I’d consider myself an avid listener of Swedish death metal. While bands like Dismember, Entombed, and Desultory are all amazing in their own right, none of those bands has managed to pull of perfection as this band has. Gorement released what is quite possibly the greatest album EVER. Unfortunately, this is also their only album. Anyway, on to the review.

The second I heard “My Ending Quest” it hit me, “This is the greatest song I’ve ever heard.” My criterion for being a great song is that it has to hit you immediately. And still, after numerous listens and thorough analysis, that song is still great. This first track did just that. Believe me, I’ve tried to find a flaw in it. However, I didn’t find a damn thing! The first riff crushes you. The guitar is downtuned incredibly low, and that comes with much benefit! It’s heavy. It’s doomy. Then a haunting melody, perfectly constructed, comes in on top of the doomy riff. After the first verse, my favorite riff of all time comes in. It’s a simple melody, with an equally simple rhythm melody that compliments the melody PERFECTLY. And the lyrics are a perfect example of pure freaking sorrow. It’s not whimpy sorrow. It’s poetic and mournful the way sorrow should be!

Another thing I should mention, throughout the album the bass is entirely audible. It often acts as a backup rhythm, but when it comes out on its own, it really shines. The best example would also be in “My Ending Quest” in the bridge section.

Also, the vocals are intense! Jimmy Karlsson is one of the best vocalists I’ve ever heard in death metal. It’s not the fact that his vocals are incredibly unique and distinct (like Tomas Lindberg on early At the Gates albums), but it’s the fact that he executes them perfectly. It’s guttural without being deep for the sake of being deep (*cough* Chris Barnes *cough*). He stays in perfect tone and never starts to lose it. Plus, he has that done of sorrow that is sometimes hard to pull off. It goes perfectly with the music.

Now, the one thing I’d like to point out about this album is that it’s not necessarily flashy. Gorement doesn’t adhere to the philosophy that death metal should shred you brains into oblivion. There’s not too many solos on the album (the ones that are there are pretty awesome too might I add) and they rely completely on being damn good songwriters. The point of music isn’t to show off. Their approach is completely modest, and it works perfectly!

Unfortunately, this album is near impossible to find now (at least in CD format). The cheapest copies I’ve seen were used for $200+. However, don’t let that stop you. Listen to this album! Do yourself a favor.

This album reaches the point, at least on my scale, where 100% just isn’t enough. There’s a handful of albums out there that are perfect and worthy of a 100% rating, however, you have to get even pickier from that point on. You can consider this review to be a 120% rating. Seriously, it’s that good. If you love Swedish death metal and consider songwriting to be the most important thing, you’ll love this album.

Standout tracks (saying all of them would be too easy): “My Ending Quest,” “Silent Hymn (For the Dead),” and “Into Shadows.”

One of the best sweden have to offer. - 100%

Vaibhavjain, August 23rd, 2009

This Gorement release is quite possibly the highlight of the Swedish DM scene. The guitars are way down-tuned almost as much as a doom record and with this and unparalleled skill of the highest quality with regard to song writing so as to create a record which truly an experience.

The band members described themselves as "just another bunch of dm fans who wanted to create music". Firstly, they are not "just" fans. They are in fact people who love the genre to that level that they decided to give back to the genre what it gave them.. utmost, complete and pure transcendence of the highest level. Secondly, they did not create only music. They also pushed the envelope in one the most brilliant scenes of the death metal genre with their skill of looking into a genre with such an amount of impeccable scrutiny that they understood the new mountains that could be scaled within a genre that is not that prone to change.

What is really stunning is that they unlike many bands in the dm forest have a sense of calm serenity throughout one of the most extreme genres of metal. Underlying the death metal spread that the band has so brilliantly and lavishly offered us is of all things, melody and at times an element of pain and sorrow.

If this wasn't enough proof of their talent, the band seems so sure and confident of what they have created even though its a rather new area in the field of death metal. They always have a tight grip on the reigns of the beast that they have unleashed upon us and achieving this when trying out a rather new concept in a genre speaks volumes about the band.

It's a shame that the band released one record. They may re-unite and there is every chance that they may smack us with another killer album, but if not what they have done is let us go with an undying classic amongst cult circles and more importantly a legacy and masterpiece that even after decades has yet to even been touched.

Swedish death can't get any better than this - 100%

Audioslave666raj, July 27th, 2008

Gorement were another one of bands out of the vastly huge number of bands that flourished in Sweden in the late 80s and early 90s. And like many of their counterparts, they had to split after a few releases. But before splitting, this band ushered upon the old school death fans an album that can be very well be regarded as an epitome of death metal. While they were already well known in the underground scene during early 90s because of the two demos named Human Relic and Obsequies. They signed with Crypta Records to release this album, and soon after the release of it the band went bankrupt forcing them to split up.

The album starts with the song Ending Quest, a short drum intro and begins the doomish tinged riffs creating an atmosphere for something evil about to start and the vocals of Jimmy Karlsson suits the riffs and raw drum sounds perfectly. No matter how much I praise Karlsson, the words of praise won't still be enough to describe his talent. The vocals are so deep-throaty and guttural that after listening to this, you will start to believe that even stalwarts like David Vincent, John Tardy, Greg Chandler are nothing compared to him. The vocals provide an overwhelmingly dark atmosphere about the music that can almost choke the listener in its stranglehold.

The guitars are downtuned so much that its almost unbelievable for a death metal record. That is the best part that separates this from the demo versions of few tracks shared on this album too. The riffs on the demo version sounded typical of Swedish death bands like Entombed, Dismember and Grave. But the guitar sound on the full-length can be imagined to be somewhat a mixture of Darkthrone, Katatonia and Candlemass. This explains the existence of so many doom metal influences on the albums. In fact the song Silent Hymn can be called a perfect funeral doom metal song, only difference being that this one is played a little faster than what funeral doom would normally be paced. Silent Hymn, which happens to be my favourite song on the record contains one of the most depressing (i mean musically not literally) and beautiful solo I have ever heard in death metal and a soothing ending to the song by an echoing voice. The recording of bass guitar is perfect too. You can almost feel your eardrums being banged by the bass sound while listening to them on earphones. And unlike many of old school thrash and death bands, the sound of each and every snare shots, bass drums, crash cymbals and bells of ride cymbals sound crystal clear.

The album is full of changes from one particular style to the other varying from early death metal to doom/death and tinge of black metal and thrash here and there that keeps the listener glued to it till the very last second of the album. The pace varies not only among different songs but within individual songs also. No two songs sound the same, which is a very commonly encountered problem with many Swedish albums. Nice passages that force you to rewind and play the track once more.

There are very few death metal records that forces your imaginations to cross boundaries of every wild imaginations, and this happens to be one of them. I mean this albums contains everything a true fan demands. Insanely crushing slow riffs that are thrown upon the listener time and again, shifting from slow riffs to blastbeats as in Darkness Of The Dead, to breakdowns with bass guitar solos. What else do you expect from a band? This is the album that rightfully deserves a perfect score of 100. Its very sad that I could not find the lyrics of this band anywhere. Wish I had the privilege to listen to it with the lyrics then I might have been able to appreciate its beauty even more. And I am pretty sure that there must have been many a bands particularly in doom/death to draw influences from them.

Its really sad that they lasted for just one album may be because of the decline of heavy metal culture and spread of radio friendly music in mid 90s causing the bankruptcy of this band and many of their counterparts. But every death metal fan who manages to listen to this album even once would remember the names of Gorement and Jimmy Karlsson forever.

So in a nutshell, if you happen to read this, try and get hold of the album by hook or by crook, its guaranteed that you won't be disappointed.