Review by Adam M on August 27, 2015.

Hate Eternal brings a ferocious style to the table with Infernus. The blast beats are strong and the drum fills are killer. Though the guitar riffs have an undeniable pummelling effect, there is also that grimy sludge feeling that is taken from Morbid Angel to be found as well. Still, this band seems to be more about pure brutality than Erik Rutan’s former act.

This type of endeavor wouldn’t work without solid song-writing skills. The overall atmosphere created by this band is certainly one that could be considered evil. The nefarious attitude also complements the band’s music very well. This can be seen from such standout cuts as Order of the Arcane Scripture and Pathogenic Apathy. This style is distinctive enough within the death metal genre, but could be further innovated in the future. The album title is appropriate in Infernus because there is a relentless vibe to all that is present. There is a dedication to making sure the album is tight and focused, regardless of what speed the music is being performed at. With the exception of the title track, all songs have some portions with significant quickness. This leads to a buildup of momentum throughout the length of the release. Though I believe that Sulphur Aeon and Rivers of Nihil have released slightly superior death metal releases this year, this album is next in line. Add to the mix a stellar production job and one has a complete death metal album. The music does take some time to sink into, but once you get it, a very crushing experience can be had.

Hate Eternal’s Infernus comes strongly recommended for people that wish Morbid Angel would have taken a more interesting path after Gateways to Annihilation and those looking for a rewarding death metal experience in general.

Rating: 8.5 out of 10

Review by Jack on August 22, 2001.

I must stress that this album review is written in appreciation of music, and not specifically metal either. Those with an appreciation of the art of music; read on; if you are narrow minded in your perceptions of music; read on anyway, as this album may endeavour to change that...

Ulver and Garm (Christophorus G. Rygg or Trickster G., whichever you prefer) were at one stage the essential dark/black metal band. Through “Vargnatt” they started with traditional (?) black metal, “Bergtatt” saw Ulver expand their black/dark origins to incorporate folk and acoustic influences with harmonic clean voices. “Nattens Madrigal” was an extreme noise thoroughfare with a brutal black assault on the senses (said to be recorded in the forest too). “Themes From William Blake's Marriage Of Heaven And Hell”, Ulver were heading down a more avant-garde path to infamy. The “Metamorphosis” EP once again broke the trend of Ulver’s current music trend, and experimented with electronics and synthesizer samples...

Thus we have Ulver and Garm in their present cycle. “Perdition City”. ‘Music to an interior film’ is what is stated on the album cover. ‘...Music for the stations before and after sleep’ is inscribed under the track listing on the reverse. Muddled signs and apprehension crept into my mind once I read those statements. “Perdition City” is no-way known, in any definition of the term; ‘metal’. But crikey it’s a bloody good listen!

Ulver’s latest incantation; the contemporary, city strolling “Perdition City” has Ulver creating gaps in their song structures to pave the way for the thoughts and projections for each and every individual. Essentially, in essence, you and I create “Perdition City”, however much a horrifying or terrific that thought may be, it is the reality. We are the protagonists in Ulver’s new accomplishment. For me “Perdition City” is either a dark sprawling Central Business District (CBD) area in current time or a bleak 1930’s seedy jazz night club, or often both.

Saxophone and synthesizer dominates this release... along with the gaps I was talking about earlier, whether this is good or bad, is obviously up to each individual to discern. Vocals are used like synthesizers are used in your average death metal tune. Not at all, or barely present. There are no real standout tracks, “Perdition City” should be experienced like an Opeth release, from track 1 to track: # (#: insert whatever the last song number is on each album).

Bottom Line: The bottom line is that “Perdition City” is not the metal Ulver we once knew and loved, whether this is good or bad is a tough call to make, “Perdition City” will be forged by the listener, up to you to discern whether your experience of the neo-Ulver will be good or bad.

Rating: 9.5 out of 10