Review by Alex on June 18, 2018.

This is what it would sound like if the universe decided to enfold, implode and swallow itself in a stir of fathomless depravity and sin in all of its tortures and seductions meshed together in bravado. The first time I heard Ritual Necromancy I knew without a doubt they were the real deal. Disinterred Horror is their best offering to date. This typhoon of tyranny and transfixing turmoil will gut the last bit of lingering light from your soul. Death metal album of the year for me so far. I don't see anything topping this unless Impetuous Ritual delivers another one of its incurable ailments without warning. A catastrophic arsenal of atomic artillery Disinterred Horror truly is.

"To Raise The Writhing Shadows" kidnaps and hypnotizes the listener, places him/her on an altar of cryptic symbols, attaches chains to the arms and feet and hooks them to monster trucks all facing separate directions, I don't have to tell you the rest. Demolishing guitar tones battle against a vocalist that sounds like a bear and lion are engaged in territorial warfare as they dance in the depths of destructive drumming and riff rampage.

"Command of the Sigil" is one of those tracks that can really send the dance-floor into a state of delirium. The vocals are deeply enunciated (as throughout the album), they are affirmative with a bulldozer like busting and boom. The song is consistently mid-paced with short bursts of increased speed just before its chaotic ending.

Disinterred Horror has near perfect timing, it's neither too short nor long. The drum snare is beefy and the mighty mage behind it occasionally borders the semi-technical side of death metal whilst still hitting heavily. There is also variation in speed throughout the album with the longest song "Cymbellum Eosphorous", showcasing a slow inundating approach baring much resemblance to funeral doom.

The production is somewhat clear but still has a raw edge to it. I love the pinch harmonics on Disinterred Horror, they're catchy and makes you want to repeat the album just to relive the buildup leading towards those sections. Disinterred Horror does justice to Ritual Necromancy's Christ-less catalog. It's been a long wait since Void Manifest stormed from the croaky catacombs, now the ghouls convoked have brought with them the transgressions of old.

Rating: 9.3 out of 10

Review by Alex on June 18, 2018.

This is what it would sound like if the universe decided to enfold, implode and swallow itself in a stir of fathomless depravity and sin in all of its tortures and seductions meshed together in bravado. The first time I heard Ritual Necromancy I knew without a doubt they were the real deal. Disinterred Horror is their best offering to date. This typhoon of tyranny and transfixing turmoil will gut the last bit of lingering light from your soul. Death metal album of the year for me so far. I don't see anything topping this unless Impetuous Ritual delivers another one of its incurable ailments without warning. A catastrophic arsenal of atomic artillery Disinterred Horror truly is.

"To Raise The Writhing Shadows" kidnaps and hypnotizes the listener, places him/her on an altar of cryptic symbols, attaches chains to the arms and feet and hooks them to monster trucks all facing separate directions, I don't have to tell you the rest. Demolishing guitar tones battle against a vocalist that sounds like a bear and lion are engaged in territorial warfare as they dance in the depths of destructive drumming and riff rampage.

"Command of the Sigil" is one of those tracks that can really send the dance-floor into a state of delirium. The vocals are deeply enunciated (as throughout the album), they are affirmative with a bulldozer like busting and boom. The song is consistently mid-paced with short bursts of increased speed just before its chaotic ending.

Disinterred Horror has near perfect timing, it's neither too short nor long. The drum snare is beefy and the mighty mage behind it occasionally borders the semi-technical side of death metal whilst still hitting heavily. There is also variation in speed throughout the album with the longest song "Cymbellum Eosphorous", showcasing a slow inundating approach baring much resemblance to funeral doom.

The production is somewhat clear but still has a raw edge to it. I love the pinch harmonics on Disinterred Horror, they're catchy and makes you want to repeat the album just to relive the buildup leading towards those sections. Disinterred Horror does justice to Ritual Necromancy's Christ-less catalog. It's been a long wait since Void Manifest stormed from the croaky catacombs, now the ghouls convoked have brought with them the transgressions of old.

Rating: 9.3 out of 10

Review by ChadL on April 12, 2002.

In a country known for great metal bands, Sweden's Theory In Practice are among the top of the heap. "Colonizing The Sun" is their follow up to the mind blowing "The Armageddon Theories". While the band still plays scorching fast technical Swedish death/black metal, "Colonizing The Sun" is an entirely different beast altogether. This album is a lot more straightforward than it's predecessor, showing the band concentrating on tighter songwriting and a more concrete structure.

Opener ‘Colonizing The Sun’ made my jaw drop and hit the floor the first time it assaulted my ears. This song is fast, lethal and full of incredible musicianship. What is unique about this band is that while they play dangerously fast, the speed is not caused by the drummer just hammering the shit out of his kit, but by guitarist/songwriter Peter Lake. The speed is in the guitars. His playing style consists mostly of single picked notes played so fast that they are hard to keep up with, as they are always changing into more and more sophisticated structures. This is all especially evident in this song. Lake's lead work is second to none. The song's solo showcases blazing speed, sweet melody and the primal aggression (as do most all of their solo's) Theory In Practice is known for. ‘Conspiracy In Cloning’ blasts through the speakers before you’ve even had a chance to catch your breath from the first tracks onslaught. This track showcases the bands newfound talent to make memorable songs, without losing any brutality or mind-blowing fretboard molesting. "Colonizing The Sun" is full of great songs, but another that sticks out to me after repeated listens is ‘Shapeshifter’. With it's great structure and almost "Epic" solo section, it really showcases everything this band has to offer.

There really aren't any songs on here that don't make the grade (Except perhaps ‘This Town Ain't Big Enough For The Both Of Us’, which wasn't written by the band anyways, so it doesn’t' really count!). After listening to this album non-stop for almost two weeks, I still can't find a way to explain this bands power. Everything, the vocals, guitar, bass and drums all complement each other perfectly. Each musician really gives this album their all, and the result is nothing short of amazing. Not one note on this album is out of place. One thing that has changed significantly since “The Armageddon Theories” is the vocals. Henrick Ohlsson doesn't use the Angelcorpse-ish snarl anymore, instead he has choose to utilize a more black metal scream, which reminds me much of “Anthems To The Welkin At Dusk” era Emperor. Songwriter/Guitarist Peter Lake deserves tremendous recognition for his work with this band. His guitar work could go head to head with anyone out there, and since he writes all the music, he is obviously a great composer. This album rules, but the only thing that might be slightly disappointing to older fans is that they no longer posses that chaotic, menacing feel of old. But this should be no problem as the new focus on clearer, more defined songs has, if anything made the band more lethal. The lyrics are very deep and philosophical and like the music, will challenge your mind, unlike the slash, slash, chop, kill, rape lyrics favored by most death metal bands. And, as always, the top-notch musicianship (especially the guitars...godly) is still in place and better than ever. This will definitely be in my top five by the end of the year.

Bottom Line: “Colonizing The Sun” is a blistering piece of technical death metal. If you like their other albums, or you just like music that really pushes the limits of what’s out there with superb musicianship and unrelenting aggression, don' let this one pass you buy. If you’ve never heard Theory In Practice before, it would be a good introduction to the band as it is more straightforward than their earlier work and easier to get into.

Musicianship: 10
Production: 10
Atmosphere: 10
Originality: 10
Overall: 10

Rating: 10 out of 10