Review by Felix on January 20, 2024.

Only in a limited number of cases, metal bands get the attention they deserve. Unfortunately, Infinity is not among these groups. Although the band reliably delivers black metal that leaves no desires unfulfilled, their outputs seem to be overlooked by the majority of the genre supporters. This is a pity, because the slightly melodic black metal of the Dutch gang is certainly worth discovering. To clarify the label "melodic black metal", I am not speaking about symphonic sounds, keyboards or beautiful female voices. The genre-typical yet interesting melodies are created by the guitars and they cause a dark and desperate atmosphere. While finding the right balance between harmonies and velocity, the band always keeps an eye on a conclusive overall impression. The two musicians celebrate genuine black metal that needs no infusion with foreign stylistic devices.

You notice this as soon as you read the song titles. Fairly epic names like "The Legend of the Sunken Monastery" or "Within the Timeless Winds of the Beyond" are without doubt a reference to the tradition of bombastic titles such as "A Sign for the Norse Hordes to Ride" or "Cosmic Keys to My Creations & Times". Nevertheless, the guys of Infinity do not offer corny riffs or melodies that have been heard a thousand times before. Believe me, the songs do not leave a stale taste. The opposite is true. The Dutch present an acceptable collection of freshly produced tracks. Their black brew can be best compared with the timeless music of Dissection´s first albums. While considering this situation, it is consequently only logical that they cover "Night´s Blood". And not only due to their technical skills, it comes as no surprise that they do it in a dignified manner. Despite of this fact, the here presented full-length does not fully match Dissection´s outstanding level of brilliance.

Some may say that the album has become somewhat long. I beg to differ. Admittedly, the sound collage "Choronzon" is fairly redundant. But apart from that minor flaw, the band has a good sense for exciting song structures. This ensures that boredom is banished. A successful example is "The Rise of Azazel". After starting with playful guitar tones, the song turns to a harsh up-tempo number. This alone may not be very unusual, but the guys demonstrate how to link the different parts in an almost perfect manner. Reflecting this, it does not matter that, for instance, the deep and rough vocals do not appear as an outstanding feature. I would like to categorize them as usual black metal vocals. And this is fine with me. But there is a small problem with the production. The album´s sound is dark and gloomy, but it lacks a bit of power. It´s not a big deal, but it leaves room for improvement.

Especially band leader and multi-instrumentalist Balgradon Xul is evidently capable to capture the obscure spirit of the genre without making any lame compromises. According to this, the motto of the band is "Black metal is intolerance". To be honest, I appreciate this kind of narrow-mindedness. Furthermore, I would like to emphasize that the musicians comply with this specification. They enrich the European underground while delivering a plausible and honest product and having the right attitude. And that is exactly what counts.

Rating: 7.8 out of 10

Review by Chris Pratl on December 4, 2017.

In terms of United States black metal Wrest is certainly one of the consistent strongholds, quite possibly more resonating and musically attuned than any of his contemporaries. His project of Leviathan has always managed to tap into the darkest and most sinister corners of the brain and soul, especially discomforting on his Tenth Sublevel of Suicide and A Silhouette in Splinters efforts from a few years back. With his latest release True Traitor, True Whore being one of the more anticipated releases to round out the year I admit a certain excitement at what’s currently passing through my ear drums.

The thing to grasp on to during this album’s immediate sinister tone is that Wrest is particularly angry and the frustration and undisguised rage is abundantly evident with no room for shading the obvious. With most Leviathan recordings there is always an element of disdain and ebon filtering through the music, mostly obvious, sometimes not so much; through it all you know precisely the level of volatility and repetitious strife you’re encountering with each note he issues with well-constructed disgust and rancor. This album’s first two tracks in “True Whorror” and “Her Circle is the Noose” pretty much wipe clean any notions that this is the album where Wrest holds back or reins in the rage. It’s not too difficult to explain just how angry this record is in base sentences, but it certainly is a much more tangible entity when consumed with attentive register and a full understanding that what you’re experiencing is something much like Burzum only at a high level not seen since Filosofem.

The unhindered nature of Wrest’s inner torment is hauntingly evident as he slams through “Shed This Skin” as if he himself were physically trying to break free from bonds seen and unseen, laboring through a petulant period of diseased soul and mind. The music is his vehicle past the objected expectation of ‘modern’ black metal and takes on a somewhat more stylish spectral approach, literally offering a capricious view of what motivates him and also what drives him to produce such controlled violence in True Traitor, True Whore. If his Lurker of Chalice side gig was considered tempestuous and corrosive, then this latest Leviathan will cut that dead limb clean off and solemnly suture the edges for a borrowed posterity. For all intents and purposes this record could be construed in many different facets; the one guarantee is that all of it in its segregated forms are pieces of dark poetic eulogy; as a whole it’s a wild embracing of the hate and disgust in all of us that we often bury until forced into a catharsis that shifts the scales and unbalances even the most stringent of minds. 

The beauty (or brilliant black serenity) of Wrest’s mind is that he doesn’t hold these ridiculous black metal devices too close to his vest; the music is allowed to rise and fall in occasional spurts of genius and depravity, and which is apparent and which is more elusive is up to personal interpretation. From the very horror dispersing from the chords of “Harlot Rises” into the literal doomy death feel of “Blood Red and True” the complete picture of pain and anger emerges from the dust din of what this record attempts to convey. I would go as far as to ascertain that this is Wrest’s finest hour in terms of total reckless honesty and resignation to his own inner turmoil. What drives the man these days is his business; what he allows us to view in terms of pieces of himself is a generous and often depressing gift. 

The long three-year wait was worth the effort; Leviathan is what I consider the reigning U.S. black metal band, even though Wrest seems to have found the astral plane that transcends the obligatory and pierces the very core of essential necessity.

Rating: 8.5 out of 10

(Originally written for www.metalpsalter.com)