Review by Alex on January 12, 2019.

Heavy, vile, robust, unforgiving and swimming in blasphemies is this debut from Musmahhu. Upon receiving the promo of this record and listening to it more times I can count, It was clear a vinyl purchase was necessary. With vocals that possess a rancorous delivery and instrumentation that is both agile and sordid, Reign of the Odious spits out a ball of fiery and fiendish fantasies. This dance with darkness is one that will be remembered for all eternity. Being unaware of Musmahhu's existence then venturing off to indulge in this content I was in awe of the sheer force and ruthlessness whilst contemplating the soaring caliber of this ritual music hammering through the speakers. I was even more bedazzled when I realized 42 minutes had went by like swoosh. This is way too good, but then again this is coming from a veteran known as Swartadauþuz who is directly involved in very very obscure black metal projects the likes of Summom, Trolldom and Urkaos, all of which I have never heard until now. This individual knows well how to mold an ideology and develop a sound that is accurate in confining and conveying a body that represents that tenet.

Reign of the Odious has a mature sound, one that is loud, clear and crisp; it has the best production I have ever heard coming from any underground death metal band to date. It's only a bad thing if the music sucks, thank fvck this record exhibits a consistency that is unparalleled for something this nasty and porangi, yet unexpectedly catchy. What is most noticeable and highly commendable about Reign of the Odious is the way in which each song (even the short interlude) assists its successor and predecessor, thus creating an air of coalescence. It's a clean sounding record yes, that has the production value of a mainstream record label, however, it also has a very chaotic ambiance that stems from the loud prolonged riffing that acts as a fleece audaciously fragmenting and erasing the unblemished surface of its audible clarity. On Reign of the Odious, Swartadauþuz casts a body of riffs that truly inherit that old-school death metal sound, and by incorporating the hand of black metal tremolo-picking and landscaping, the mixture results in a formation of melodic, yet crushing entity of black/death metal. These licks go well with the maniacal vocal ability of Swartadauþuz, his high snarls are twisted and his growls come across as very organic, full-toned/canorous. His presence is felt throughout the playtime of the record, and in doing so it adds a feeling of existential manifestation, where-in the music almost begins to display physical qualities, like you can reach out and touch it.

Special recognition and extol must be given to the drummer Kévin Paradis whom also lends his drumming abilities in other metal projects such as Agressor and Benighted. His performance on Reign of the Odious is magnificent, a true testament to skill, devotion and dedication to his craft. He is more than able to alter his approach and still maintain momentum numerous times even after exiting lengthy energetic complex durations of blasting and snare abuse. His technique is exceptional, as can be heard on “Musmahhu, Rise” and “Spectral Congregation of Anguish”. He hits the kit with adjure throughout the record; it's a blast to hear such energetic and fastidious drumming.

Reign of the Odieus is one of those albums that will have an everlasting impact for many years. Knowing that this is another side project of Swartadauþuz, I hope it is not abandoned, as there is a real power existing within Musmahhu's music that is yearning to be harnessed and expelled.

Sucking dry the luminescent:
“Musmahhu, Rise”
“Slaughter of the Seraphim”

Disgorging light’s championed deception:
“Reign of the Odious”
“Spectral Congregation of Anguish”
“Thirsting for Life's Terminus”

Rating: 9 out of 10

Review by Felix on January 16, 2021.

Do you like to know the greatest influence of the lone wolf Genözider, the only member of Quintessenz, as soon as possible? Then skip the first nine songs and start with the last one called 'Iron Hammer Sacrifice'. It begins more or less independently, before it transforms at 2:30 to the unofficial part two of Bathory's "Enter the Eternal Fire". A great second part, indeed, although Quorthon's classic tune remains unrivaled. But the riffs of 'Iron Hammer Sacrifice' are catchy, the composition is not too simple and the hoarsely echoing vocals create a gloomy atmosphere. To be honest, this is the last in a series of killer tracks, no matter how much Bathory is included.

But Quintessenz did not wait until the last song to pay tribute to Bathory. The prominent riff of 'Black Metal Holocaust' hits like a bombshell and it pleasantly reminds me of "Armageddon" of... oops... Bathory. So I am very glad to say that Genözider's and my favourite songs of Bathory seem to be the same. Nevertheless, from now on, I do not want to mention Bathory anymore but Quintessenz exclusively.

In general, the songs follow a similar pattern. They are based on strong riffs, powerful and mostly fast drumming while the voice sounds like a hunted animal. The songwriting is old-fashioned and fresh at the same time. In view of this fact, Quintessenz are able to maintain a high quality during throughout the album. Even the title track, in first place after the whispered intro, knows to fascinate. The harsh riff opens the door wide to a realm of sonic damnation - in its maximalist sense, of course. So you will be confronted with the memorable 'Ancient Rites' for instance. Equipped with minimalistic lyrics, it almost feels like a black metal mantra. Once you have internalised this track, you will not forget it too soon. This also applies to the grim 'Nekrowhore'. Thanks to its sharp riff, it will stick in your brain for a long time. Although I must say that formidable riffs and leads are omnipresent - listen to 'Wings of Blasphemy', it offers one of the best.

Even the slightly weaker tunes get to the point quickly and concisely. Thus, it is a great pleasure for me to recommend this full-length debut of Quintessenz to all fans who do not need technical tricks but 33 minutes of malevolent black thrash metal. The young Quorthon would have loved it, too.

Rating: 8.5 out of 10

Review by JD on February 4, 2014.

Back in the day, old school black metal could thrash like hell. It was that melding of thrash and Satan that got the whole BM market going – look at Venom, they were a thrash, but more at a basic level. Another act has taken up the old school BM and brought it to the altar of Metaldom – Quintessenz.

One man German based act Quintessenz has summoned classic old black metal to rage for us all. Incorporating his love of such blasphemous pioneering acts as the mighty Venom, the unmatched Celtic Frost and even borrowing a bit of the power of the likes of Destruction. The one called Genözider brings his take on the thrash inspired BM and lets the unholy demons breathe life into its lifeless carcass.

Thirty three minutes of pure malevolence, powered by a dark scarred thrash, drags you screaming into the vortex of hades. Vile hymns like the hate soaked "Nekrowhore" and the equally blasphemous "Ancient Rites" slide you through the flames of Brimstone that lap at your soul with pain. For me, this is black metal: powerful, rich with pile driver riffs and subtle hellish hooks. Quintessenz has hit a home run with every sadistic note. I even love the album intro… classic darkened mood that leads you across the river Styx and into Satan’s home.

I love modern BM and its power but there is a certain unwholesome class the old school brings that the newer acts can’t bring. I loved every sadistic note and Black Mass induced riff on the album, and I know that most Metalheads will to. This is just old school BM updated, but kept its evil pure to its past – Ave Satanas.

Categorical Rating Breakdown

Musicianship: 9.5
Atmosphere: 10
Production: 9
Originality: 9.5
Overall: 9.5

Rating: 9.6 out of 10

Review by Felix on January 16, 2021.

Do you like to know the greatest influence of the lone wolf Genözider, the only member of Quintessenz, as soon as possible? Then skip the first nine songs and start with the last one called 'Iron Hammer Sacrifice'. It begins more or less independently, before it transforms at 2:30 to the unofficial part two of Bathory's "Enter the Eternal Fire". A great second part, indeed, although Quorthon's classic tune remains unrivaled. But the riffs of 'Iron Hammer Sacrifice' are catchy, the composition is not too simple and the hoarsely echoing vocals create a gloomy atmosphere. To be honest, this is the last in a series of killer tracks, no matter how much Bathory is included.

But Quintessenz did not wait until the last song to pay tribute to Bathory. The prominent riff of 'Black Metal Holocaust' hits like a bombshell and it pleasantly reminds me of "Armageddon" of... oops... Bathory. So I am very glad to say that Genözider's and my favourite songs of Bathory seem to be the same. Nevertheless, from now on, I do not want to mention Bathory anymore but Quintessenz exclusively.

In general, the songs follow a similar pattern. They are based on strong riffs, powerful and mostly fast drumming while the voice sounds like a hunted animal. The songwriting is old-fashioned and fresh at the same time. In view of this fact, Quintessenz are able to maintain a high quality during throughout the album. Even the title track, in first place after the whispered intro, knows to fascinate. The harsh riff opens the door wide to a realm of sonic damnation - in its maximalist sense, of course. So you will be confronted with the memorable 'Ancient Rites' for instance. Equipped with minimalistic lyrics, it almost feels like a black metal mantra. Once you have internalised this track, you will not forget it too soon. This also applies to the grim 'Nekrowhore'. Thanks to its sharp riff, it will stick in your brain for a long time. Although I must say that formidable riffs and leads are omnipresent - listen to 'Wings of Blasphemy', it offers one of the best.

Even the slightly weaker tunes get to the point quickly and concisely. Thus, it is a great pleasure for me to recommend this full-length debut of Quintessenz to all fans who do not need technical tricks but 33 minutes of malevolent black thrash metal. The young Quorthon would have loved it, too.

Rating: 8.5 out of 10

Review by JD on February 4, 2014.

Back in the day, old school black metal could thrash like hell. It was that melding of thrash and Satan that got the whole BM market going – look at Venom, they were a thrash, but more at a basic level. Another act has taken up the old school BM and brought it to the altar of Metaldom – Quintessenz.

One man German based act Quintessenz has summoned classic old black metal to rage for us all. Incorporating his love of such blasphemous pioneering acts as the mighty Venom, the unmatched Celtic Frost and even borrowing a bit of the power of the likes of Destruction. The one called Genözider brings his take on the thrash inspired BM and lets the unholy demons breathe life into its lifeless carcass.

Thirty three minutes of pure malevolence, powered by a dark scarred thrash, drags you screaming into the vortex of hades. Vile hymns like the hate soaked "Nekrowhore" and the equally blasphemous "Ancient Rites" slide you through the flames of Brimstone that lap at your soul with pain. For me, this is black metal: powerful, rich with pile driver riffs and subtle hellish hooks. Quintessenz has hit a home run with every sadistic note. I even love the album intro… classic darkened mood that leads you across the river Styx and into Satan’s home.

I love modern BM and its power but there is a certain unwholesome class the old school brings that the newer acts can’t bring. I loved every sadistic note and Black Mass induced riff on the album, and I know that most Metalheads will to. This is just old school BM updated, but kept its evil pure to its past – Ave Satanas.

Categorical Rating Breakdown

Musicianship: 9.5
Atmosphere: 10
Production: 9
Originality: 9.5
Overall: 9.5

Rating: 9.6 out of 10