Register Forgot login?

© 2002-2022
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Simplicity of Decay - 90%

Nattskog7, August 5th, 2022
Written based on this version: 2020, 12" vinyl, Me Saco un Ojo Records (Limited edition, 2 colors)

Finnish death metal masters Gorephilia are back with their highly anticipated third album.

A cavernous array of gorgeously grotesque riffs and tight, riveting drum work launches us into a crushing and atmospheric display of pure rotten death metal excellence. The vocals are just as meaty and visceral as the killer instrumental work, showcasing the ferocious tightness of Finnish musicians nailing extreme metal as well as ever. Convulsing with cosmic dissonance and ruthlessly morbid execution, there is no denying Gorephilia are back on top form, returning after “Severed Monolith” leaves a huge task of living up to such a phenomenal record but it is evident that Gorephilia have not lost touch or run out of ideas.

Devastating transitions from one brilliant riff to another ceaselessly impresses, while the drums have more than enough variety to keep up. Gorephilia has never been a one trick horse, always utilising a diverse yet completely coherent arsenal of extremities. Jukka’s songwriting and vocals have improved in their technicality while retaining the morbid swing we all know and love, while his counterparts work in perfect harmony to really hammer in the nails of total carnage. Amidst the cavernous assaults, we see yawning portals of atmospheric excellence that draw out in a resplendent manner to truly mesmerise you while rebuilding to a chaotic attack that can reappear at any given moment. There is plenty of groove to keep things catchy and enough dissonant twists to give it a tasteful edge while the vanquishing brutality and atmosphere stays the main focus of the record, as it should.

Although very rhythm-oriented with a catchy and utterly monolithic approach, there is no weakness in the lead work either with melodic soloing that is truly wonderful, working in contrast but suitably with the rancid riffing and obliterating drums. The dripping textures in the doomy sections are utterly gorgeous in the most odious fashion, with similarities to their countrymen Krypts, Hooded Menace and Solothus appearing subtly in the cascading darkness. These comparisons are not to infer a stolen sound however, as Gorephilia are as recognisable as ever. Three albums in and this band has not faltered once at delivering maniacal, filthy and spectral death metal at its finest.

Hauntingly dark, venomously aggressive and uniquely distinguished, Gorephilia are among some of the finest purveyors of true gruesome old school death metal in the Finnish way. Coated in doomy morbidity, festering with slimy riffs and with monstrous drums and vocals to ensure a visceral and unrelenting experience. Do not allow yourself to miss this album if you care at all about death metal, it is total macabre ecstasy.

Written for www.nattskog.wordpress.com

Straight Up Death with a Modern Polish - 78%

MrMetalpants, January 1st, 2021
Written based on this version: 2020, Digital, Me Saco un Ojo Records

I passively listened to 2017's Severed Monolith but never ended up writing a review for it. I honestly can't remember how I felt about it, but it must not have made too much of an impact since I have very little remembrance of it. This time around I'm not gonna sleep on the solid band Gorephilia. Their Morbid Angel meets Deicide makes for a wonderful combo.

The sound, as noted in the title, is straight death metal but the production and certain flair gives it a wholly moderns sound. I kept drawing similarities to mid-late career Deicide, like at 2:24 on "Walls of Weeping Eyes. Really that whole track feels like an homage to Deicide, but maybe that's me. 1:08 on "Perceptual Procession" and "Devotion upon the Worm" have specific Dominion-era Morbid Angel vibe. Granted, "Ouroboran Labyrinth" definitely could have been a cut track from Covenant (I must point out the absolutely ferocious moment at 1:57 on the prior track. It's a highlight on the album).

There is some solid guitar playing throughout. Not technically impressive but the riffage has some twists and turns I found enjoyable to follow. 0:54 has one of these atypical moments. The lead guitar solo on "Perceptual Procession" not only has soul and an interesting flow (rather than your standard scales-for-solo) that I love in death metal. 'Simplicity of Decay" has great riffage too and is one of the stronger tracks. The bass comes out to play on "Simplicity of Decay" with a nice watery rumble effect on it that I didn't notice elsewhere.

The drums mess around well with the riffage on "Perceptual Precession" with the regular variation and off-tempo beats that follow the at time arhythmic riffs. "Simplicity of Decay" has more of these moment. I'm realizing, though, that a lot of these tracks have solid drums and only rarely do I find myself not paying attention to the drums. The drums are balanced well and I really appreciate how they were mixed. The overall music is a large wall of sound but it is all balanced well with a nice polish to them.

The vocals are enjoyable but rely too much on effects. Whether it's an insane echo or a duplication of the boc track to give it even more of an echo. I'd enjoy the music much more if the vocals were a little more straightforward. I don't mind the Morbid Angel knock off vocals, and even find them endearing at times.

Favorite tracks:
-Perpetual Procession
-Simplicity of Decay
-Walls of Weeping Eyes

Technical skill: 86% Song writing: 78% Production: 72% Originality: 79%

awakening to a new dawn - 87%

Cosmic Mystery, November 7th, 2020
Written based on this version: 2020, 12" vinyl, Me Saco un Ojo Records (Limited edition, 2 colors)

When Henri Emil Kuula (R.I.P) had left us so suddenly I could not begin to fathom what Gorephilia album without his presence on vocals would be like. I knew the band had been sharing a member of Krypts and it was indeed possible to have someone from the Finnish cosmic death/doom stalwart handle the job. However, I was more worried about the identity of the band departing from its ways exhibited on the mind-blowing Severed Monolith that was released through Dark Descent Records and Me Saco Un Ojo back in 2017. That album was way too good for a band that only had one prior full length release to its name; the feeling of elation that would engulf me when hearing tunes like 'Hellfire', 'Blackhorns' and the immaculate, 'Crushed Under the Weight of God' would not leave me for days. Everything about that album exceeded my expectations from an up and coming death metal band. The icing on the cake was Henri Emil Kuula's vocals that gave the tunes a certain character of utter seriousness and darkness altogether creating an atmosphere unlike anything I had heard in death metal at the time. His passing was indeed a devastating blow that I was so sorry to find out yet very angry that another son of metal had been snatched from us. Henri Emil Kuula's work will forever be remembered and revered as some of the finest produce Finland has offered metal.

I didn't hear a word about a new vocalist perhaps maybe up until June of 2019? Can't really recall exactly when, but I was very suspicious all the while excited to find out who would be steering the ship. Contrary to my expectations being that Gorephilia would assert someone who has handled vocal duties on some notable album or in some band of a high caliber, however on the contrary, they selected a member from Krypts (Jukka Aho) that to my knowledge (correct me if I'm wrong) has never done any vocals for a professional full length until now. How did this play out? Way better then I had originally predicted. Their new album, In the Eye of Nothing is a damn beast of its own yet it has not harmed the original blueprint associated with the works of Gorephilia. Jukka Aho sort of brought his own character to the already existing recipe of Gorephilia thus giving the album a familiar yet refreshing sound. It's not everyday a new vocalist joins a band of this caliber and is able to perform at a standard that not only continues to hold up the musicianship but also brings a slightly different perspective to the motion of a recording. Hence, as far as Jukka's performance goes vocally, I guess I couldn't have asked for more from a newcomer, that also happens to be wielding the stringed menace.

Regarding the instrumentation, the blueprint of Gorephilia is well intact however, I'm receiving massive Suffocation vibes, specifically from their "Souls To Deny" album; and that's a good thing. This mostly occurs in the various transitions scattered throughout In the Eye of Nothing. Take 'Walls of Weeping Eyes' or 'Perpetual Procession', these songs are structured fairly candid starting out with their introductory riffs but as they progress you'd notice how the guitars leap over into the USA for some of that good old Terrence Hobbs and Mike Smith brute-mance via a stampeding blast-beat technique matched with a venomous excretion of riffing romantia. This makes the album come across as being both dark and brutal given the speed some sections are played and merged with the tone of the guitars that Pauli Gurko handles with great distinction. The doom metal is very much still alive and drummer Kauko Kuusisalo makes the transitions from blasting carnality to weighty punctures seem sublime, and when matched with the support of bassist Tami Luukkonen who uses the stringed-meat-tenderizer to amplify that crushing effect, those death/doom sections are unmistakably pronounced with utmost potency.

I can't think of any weak entry on In the Eye of Nothing, yet at first I was not very big on 'Devotion Upon the Worm' but that steadily crawled around in my consciousness and I slowly began to appreciate what Gorephilia were doing. Just setting you up for 'Simplicity of Decay' that strikes you down with sheer force hence the deep cavernous howl of Jukka guiding the hammer that'd take you through to the final track, 'Ark of the Undecipherable'. Killer fucking track title and even more malignant the musicianship be that sits atom a mountain of sullen eyes filled with condemned visions. Not quite a 'Crushed Under the Weight of God', but it does have its 'ouch you stepped on my fucking feet' moments. I think Gorephilia is in safe hands and there is no need for worry given their output following 2017's Severed Monolith.

Posted at Metalbite.com

The refined touch of death - 85%

TheNotrap, October 2nd, 2020

At a time when hybrid styles are taking over, there are still death metal bands like Gorephilia that remain faithful to a more orthodox approach, linked to a more visceral side of the genre. This greater conservatism, besides conveying the artist's aesthetic taste, also preserves the legacy of earlier bands that helped to build the foundations of death metal. With their first EP and two subsequent full-lengths, Finnish Gorephilia clearly positioned themselves on that conservative side of the barricade without, however, remaining static. While their debut album Embodiment of Death displayed a heavy, dense sound, sometimes bordering on brutal death metal, their 2017 follow-up Embodiment of Death has already shown a more atmospheric, murky approach. This mutation has revealed an adversity to stagnation that I find quite relevant, showing not only an exciting creative impulse but also a markedly open personality (within the style).

Unfortunately, the band's most recent years were also marked by the suicide of vocalist Henri Emil Kuula (aka Nemesis) in 2018, which led to guitarist Jukka Aho taking over the vocals. Although the band obviously felt the loss of their long-time comrade, the fact that the line-up remained stable for the next two years contributed decisively to the symbiosis present in In the Eye of Nothing. A good chemistry between musicians is an essential factor not only for musical cohesiveness but also for the solidity of the team. I like to feel that I'm dealing with a band, a collectivity, and not with a random set of musicians linked only by circumstances.

The first thing I noticed when diving into In the Eye of Nothing was its Morbid Angel-ish approach, which although not exactly a novelty in the band's signature, it had never felt so strongly. Songs like 'Walls of Weeping Eyes', 'Perpetual Procession', or 'Ouroboran Labyrinth' are fine examples of Trey Azagthoth & Co's omnipresence. However, despite the obvious stylistic similarities, we never feel we're dealing with a cloning, but rather with a student's personal view towards the teacher's work. It doesn't bother me when bands have no compunction in showing their influences, on the contrary, it reveals their genuineness and rock and roll spirit. This complacency for similarity is even more acceptable when dealing with a more conservative style, which rarely presents major stylistic deviations.

In the Eye of Nothing mostly swings between slow and mid-paced tempos, with a special focus on detail. One can safely say that it is the band's most refined album to date. A product of maturity and experience, if you wish. The first two tracks, 'Walls of Weeping Eyes' and 'Perpetual Procession' are both faithful introductions to this more polished approach. Nevertheless, despite its more restrained and cerebral nature, we still find the necessary contrasts within and between songs. The relation between the doom-ish 'Devotion Upon the Worm' and the relentless 'Simplicity of Decay' are a good example of existing contrasts. A song like 'Not for the Weak', with its dynamic riffing and tempo, also illustrates this subtle diversity. It would be excessive to imply that the band has never been so cohesive, given the solidity of their work, however, I feel the lads have never been so focused. Everything seems meticulously thought out and rehearsed. 'Walls of Weeping Eyes', 'Ouroboran Labyrinth', and 'Ark of the Undecipherable' all mirror this refinement splendidly, being probably the album's most emblematic tracks. The blend of early 90's Morbid Angel textures with Finnish old-school death metal, layered by cavern-like filth a la Krypts or Incantation, is the core of a formula that flows smoothly for forty-three minutes. The narrative is always cohesive and coherent.

As I mentioned earlier, the symbiosis among musicians is felt throughout the album, with emphasis on a solid rhythm section that accompanies the guitar dynamics in perfect synchrony. The beginning of 'Not for the Weak' is one of the finest examples of this synergy. Jukka Aho's vocals fit the band's style perfectly, thus proving to be the right choice to replace the late Henri Emil Kuula. Instrumentally, guitar solos are the weakest link, which despite having the proper spirit, do not possess the mastery of guitarists like Trey Azagthoth. Nevertheless, lead guitars are far from being the most significant ingredient in a style focused on intensity and overall atmosphere. Something the band manages to deliver remarkably well. The polished, but not too clean, production fits perfectly with the album's signature, enhancing a flavor that I would say stands between Blessed Are the Sick and Covenant, with a darker, more cavernous touch, reminiscent of the band's DNA.

Gorephilia has never released the same album twice, and In the Eye of Nothing is no exception. With a refined Morbid Angel-esque approach, the band enters the new decade with its most polished release to date. It is a testimony to obscure elegance and an indispensable addition to any refined death metal collection.

Originally written for www.sputnikmusic.com