Review by Chris Pratl on December 17, 2018.

I'll go on record saying I think one of the better Swedish death metal albums back in “my day” was Sorcery's debut full-length, Bloodchilling Tales way, way back in 1991. It was absolutely rife with that “textbook” Swedish sound made famous by Grave, Unleashed and Desultory, to name a sparse few. While severely unpolished, it remains one I grab when I'm feeling that need for cold, unmitigated death metal. 

That said, it's been, oh, two decades-plus since we've seen a full-length from these Swedish boys bent on bringing death to the lulled masses. Arrival at Six takes no easy way in and literally smashes into your ears with “We Who Walk Among the Dead”, a classic Swedish sounding foray into the horror that was that beautiful sound. Infinitely more polished with modern devices and tools, the primitive and thin sound of old is thicker and bolder, lending total credence to the notion that 20-years between albums hasn't dulled the senses of these guys. That sickening guitar tone, part and parcel with the era and region, is ever-present and as potent today as it was during that brutal period. 

A band like Sorcery, one might opine, is riding the recent resurgence of that antiquated sound, and one might be correct. However, bear in mind that these guys once held rank in that esteemed club, and the time between hasn't exactly seen total dormancy. With a couple of demos and a compilation Sorcery has picked up where it left off and found a home once more in the dank and dismal recesses of death metal greatness. 

The vocals are that familiar gruff bellowing, and it truly wouldn't resound well any other way. Ola Malmstrom sounds even more volatile and angry on tracks like “Master of the Chains” or “Warbringer” as he did on “Legacy of Blood” or “Death” back in the day. There is something so drawing about this sound, especially when done by masters of the genre like Dismember or early Entombed. Sorcery, however, claims its own spot in the pantheon of putrid perfection with Arrival at Six; this album, for all of its polish and tweaking, stands among the best of the modern day genre because, quite honestly, it's brutally effective at charging the blood in a mad rush through the body when hearing it. There isn't one weak track on here, and, surprisingly, not one track meshes into another with typical affinity towards repetitiveness. The signature sound remains throughout, but the tone of each song is different and equally heavy. “United Satanic Alliance” is just Swedish brilliance all over, reading like a post-Cronos Venom on a speedball diet. This familiarity is most welcome, particularly when it comes from one of the bands from the early movement that spread over Europe like a wonderful cancer, infecting and destroying healthy cells and decimating lives along the way. For once, such a metaphoric illusion works well.

I was ecstatic to hear that Sorcery was releasing the long-awaited second record; even with slight reservations and even fears in mind, I held out hope that the Swedes would know exactly what not to do when reclaiming a spot in the coveted history of that country's brilliant death metal underground. I was not only happily surprised, but doubly impressed and made subservient to a sound that I find most agreeable today with my old-world preferences. 

This is a must-hear for '13 so far.

Rating: 9.5 out of 10

(Originally written for www.metalpsalter.com)

Review by Alex Grindor on May 25, 2023.

An "In Crescendo" maelstrom of darkness welcomes you to In Oculus Abyss, the newest release from Teitan. A solo project spearheaded by Devi Hisgen, Teitan showcases a psychotic brand of black metal, with constant twists and turns, atonal harmonies and maniacal voices. This new offering of Teitan is over 40 minutes of dissonant songwriting with plenty of experimentation and vocals filled with tormented emotion and madness.

Musically, Devi is a master of his craft. Teitan excels in the use of chaotic riffs and harmonies, without giving fully to it. His drumwork is absolutely commendable, with a constant brutality that leaves room for some peace amidst the chaos. However, I find his vocals to be the most mesmerizing aspect of this album. His constant shift in vocalizations and blending of them is amazing. It features a wide array of vocals, from sinister whispering to demonic shrieks. All these aspects are mixed perfectly in the record, with a harrowing combination of nostalgic melodies and jarring guitars that creates an oppressive atmosphere, to which a wide array of sounds is added. Despite its constant twists and turns there is an unrelenting fury in the music that, even in its most calm moments, builds a constant tension towards what comes next. Again, Devi is a master of his craft of black metal and In Oculus Abyss shows him growing ever more ferociously.

Production wise, everything is well balanced. Every instrument is clearly audible. Vocals are well balanced and mixed properly. Nothing detracts nor distracts from any other instrument, allowing for a wonderful experience. Although I do feel that the guitars (at moments) are at the "back" of the mix, it is of no greater consequence and, most importantly, the tracks are so well put together that the entire record can loop without you noticing (as it happened to me while listening
to it). This showcases that Davi's vision for this album worked flawlessly.

With an excellent production, a great mixture of jarring madness and haunting melancholy, topped with a monstrous display of vocals, In Oculus Abyss is a haunting album that deserves every bit of your attention. As Teitan itself explains this album; "Nine pieces about existentialist philosophy, translated to experimental black metal." And the pay-off of such work is an exquisite experience in avant-garde black metal. If you enjoy DHG, Deathspell Omega, Hail Spirit Noir, Mayhem and similar artists, this is a choice you will not regret.

To be released May 26th via Onism Productions / Void Wanderer Productions.

Rating: 9.2 out of 10