Review by Felix on April 29, 2019.

At the end of the eponymous debut of Disciples of the Void, the unforgotten, almighty Quorthon (R.I.P.) raises from the ashes. The epic cover version is a little bit confusing, because the self-composed material does not really match the Viking era of the Swedish idol. However, let's start in a more logical way and let me introduce this duo from Finland. Like many other formations, projects and lone wolfs, the guys want to go back in time. Death to false (black) metal - let's regain its true essence. 

The dramatic intro sets the stage and gives us the opportunity to feed the lions with some Christians, but sorry, don't count on me. I fail due to a lack of criminal energy. However, regardless of my lethargy, the first regular track makes clear that Disciples of the Void do not love experiments. Their fast-paced opener reveals influences of those veterans who combined a very harsh foundation with atmospheric (keyboard) sounds. I am not speaking of Dimmu Borgir, but heroes like Troll or early Emperor come back to life. You have read correctly: early Emperor! So now you should know that we are having a really great debut here. Hymnal lines, triumphant sounds, insane screams and mysterious spoken parts are overshadowed by an omnipresent darkness. "Dominion", the opener, sets the course and further tracks follow in an impressive manner, for example the furious "Per Aspera Ad Noctem". 

In addition to the aforementioned bands, I have to drop names like Limbonic Art or even Forteresse. These pretty different bands have one thing in common with the here presented band, because they also connect mind-blowing, rapid guitars with overflowing keyboard sounds. Disciples of the Void manage cleverly to integrate the more or less harmonic elements without losing the smallest grain of harshness. Only the calm break in "Heirs of the Wormwood" does not convince and lowers the impact of the actually extremely vicious number. But debutants have the right to fail from time to time and yes, all that glitters are not gold. Instead of presenting the Bathory adaption no. 2.966, they would had been well advised to offer one or two further own pieces.

Having that said, the net playtime of roughly 28 minutes indicates a slight lack of substance and that's a pity, because the songs themselves speak a completely different language. Disciples of the Void show in a quite impressive manner that they are able to create an adequate storm of blackness and their music profits from an equally adequate production which lacks neither density nor atmosphere. No doubt, the obviously eternally fertile Finnish underground has spat out its next ominous creature which deserves our attention. I am pretty sure that even Quorthon in Valhalla lends them an ear.

Rating: 8 out of 10

Review by Alex on December 3, 2019.

I was not on-board with this record from Oath of Cruelty. 1. even with the addition of death metal, thrash metal does nothing for me and 2. I'm just extremely harsh, demanding and biased towards it. Easily the most plagiarized of sub-genres and by far the most boring. Though important, its role in forming both black and death metal, unlike its offspring that matured over the years, thrash metal has gathered moss and stagnated apart from exceptions that have tried to take the sub-genre in new exciting directions. Coming back to my initial statement of not fully subscribing to the proposals of the brand (yes it’s a brand now, blame Metallica), hearing Danny Hiller (ex- Imprecation), Matt Heffner (Thy Feeble Saviour) and Dave Callier (ex-Morbosidad) are shouldering the weight of the recordings to come under the band immediately changed the outlook I had for Summary Execution at Dawn.

Summary Execution at Dawn is the best new thrash/death metal record I have heard for 2019. The involvement of members mentioned is among some of the better things that could have possibly happened for the band and album. Their input here is just as high as I would expect to be given their efforts in other more notable bands. And having the backing of Dark Descent Records, the quality of what is destined to be could only reflect distinction. The record is more in line with thrash metal though the death metal can be distinguished; its lightly added in comparison to the thrash attack that borders speed metal on many instances. Opener 'Pounding Hooves of Shrapnel' wastes no time in making the listener aware of Oath of Cruelty's intentions. Its cruelly fast and unforgiving riff-wise and drum wise. Dave's vocals are rugged, sharp and matches the level of the instruments mixing. More craziness follows with 'Stabbing Forth with Invincible Damnation' (features my favorite guitar solo of the record), 'Through Alchemy and Killing' and 'Pathogenic Winds of Swarm' that continually build the aggression transported to the last note played.

Matt's drumming is a thing to behold, his stamina and momentum never hindered through many changes in technique, whether speed metal, thrash or slower paced doom metal sections. Songs like the aforementioned 'Pounding Hooves of Shrapnel' and 'Stabbing Forth with Invincible Damnation' showcase some of his most versatile and demanding work on Summary Execution at Dawn and proves that his input had been very much necessary in making the album a classy showing. Danny Hiller (Archfiend) is not exempt from credible mention, given its his riffing that supply the icing on the cake. His produce on 'Pounding Hooves of Shrapnel', 'Pathogenic Winds of Swarm' and 'Victory Rites of Exsanguination' is delicious. His shredding has a melodic tone to that somewhat map's-out the climaxing and depressing slopes of the music making it a joy to follow along rather than a chore.

With procession, I could identify some Sarcófago influences creeping within the veneer of the music on Summary Execution at Dawn. Specifically, through the lead and soloing guitar work of Dave and Danny its identifiable their machinery had been oiled by the Brazilians in some ways. In addition, the diversity showcased in the instrumentation addresses the issue of stagnation within the sub-genre that has for some time till now refused to remove the training wheels from its vessel despite the efforts of some bands to make the genre more interesting and less linear and independent. Oath of Cruelty utilizes plenty a tempo to keep the listener interested and the album at an interactive peak that never really recedes despite the slightly less aggressive and mid paced inclusions heard on in the 'Chamber of Death' and 'At the Tyrant's Behest'. Title track 'Summary Execution at Dawn' is the best of the B side compliments of the dynamic riffing qualities of Dave and Danny whom fight for the spotlight through both technical and traditional riff-work. If you've been a thrash metal supporter or fanatic for some time then this album needs to be in your collection, it’s a competitive firestorm among musicians making it a record free of the boredom thrash metal has been associated with for decades.

Rating: 9 out of 10

Review by Felix on April 29, 2019.

At the end of the eponymous debut of Disciples of the Void, the unforgotten, almighty Quorthon (R.I.P.) raises from the ashes. The epic cover version is a little bit confusing, because the self-composed material does not really match the Viking era of the Swedish idol. However, let's start in a more logical way and let me introduce this duo from Finland. Like many other formations, projects and lone wolfs, the guys want to go back in time. Death to false (black) metal - let's regain its true essence. 

The dramatic intro sets the stage and gives us the opportunity to feed the lions with some Christians, but sorry, don't count on me. I fail due to a lack of criminal energy. However, regardless of my lethargy, the first regular track makes clear that Disciples of the Void do not love experiments. Their fast-paced opener reveals influences of those veterans who combined a very harsh foundation with atmospheric (keyboard) sounds. I am not speaking of Dimmu Borgir, but heroes like Troll or early Emperor come back to life. You have read correctly: early Emperor! So now you should know that we are having a really great debut here. Hymnal lines, triumphant sounds, insane screams and mysterious spoken parts are overshadowed by an omnipresent darkness. "Dominion", the opener, sets the course and further tracks follow in an impressive manner, for example the furious "Per Aspera Ad Noctem". 

In addition to the aforementioned bands, I have to drop names like Limbonic Art or even Forteresse. These pretty different bands have one thing in common with the here presented band, because they also connect mind-blowing, rapid guitars with overflowing keyboard sounds. Disciples of the Void manage cleverly to integrate the more or less harmonic elements without losing the smallest grain of harshness. Only the calm break in "Heirs of the Wormwood" does not convince and lowers the impact of the actually extremely vicious number. But debutants have the right to fail from time to time and yes, all that glitters are not gold. Instead of presenting the Bathory adaption no. 2.966, they would had been well advised to offer one or two further own pieces.

Having that said, the net playtime of roughly 28 minutes indicates a slight lack of substance and that's a pity, because the songs themselves speak a completely different language. Disciples of the Void show in a quite impressive manner that they are able to create an adequate storm of blackness and their music profits from an equally adequate production which lacks neither density nor atmosphere. No doubt, the obviously eternally fertile Finnish underground has spat out its next ominous creature which deserves our attention. I am pretty sure that even Quorthon in Valhalla lends them an ear.

Rating: 8 out of 10

Review by Felix on April 29, 2019.

At the end of the eponymous debut of Disciples of the Void, the unforgotten, almighty Quorthon (R.I.P.) raises from the ashes. The epic cover version is a little bit confusing, because the self-composed material does not really match the Viking era of the Swedish idol. However, let's start in a more logical way and let me introduce this duo from Finland. Like many other formations, projects and lone wolfs, the guys want to go back in time. Death to false (black) metal - let's regain its true essence. 

The dramatic intro sets the stage and gives us the opportunity to feed the lions with some Christians, but sorry, don't count on me. I fail due to a lack of criminal energy. However, regardless of my lethargy, the first regular track makes clear that Disciples of the Void do not love experiments. Their fast-paced opener reveals influences of those veterans who combined a very harsh foundation with atmospheric (keyboard) sounds. I am not speaking of Dimmu Borgir, but heroes like Troll or early Emperor come back to life. You have read correctly: early Emperor! So now you should know that we are having a really great debut here. Hymnal lines, triumphant sounds, insane screams and mysterious spoken parts are overshadowed by an omnipresent darkness. "Dominion", the opener, sets the course and further tracks follow in an impressive manner, for example the furious "Per Aspera Ad Noctem". 

In addition to the aforementioned bands, I have to drop names like Limbonic Art or even Forteresse. These pretty different bands have one thing in common with the here presented band, because they also connect mind-blowing, rapid guitars with overflowing keyboard sounds. Disciples of the Void manage cleverly to integrate the more or less harmonic elements without losing the smallest grain of harshness. Only the calm break in "Heirs of the Wormwood" does not convince and lowers the impact of the actually extremely vicious number. But debutants have the right to fail from time to time and yes, all that glitters are not gold. Instead of presenting the Bathory adaption no. 2.966, they would had been well advised to offer one or two further own pieces.

Having that said, the net playtime of roughly 28 minutes indicates a slight lack of substance and that's a pity, because the songs themselves speak a completely different language. Disciples of the Void show in a quite impressive manner that they are able to create an adequate storm of blackness and their music profits from an equally adequate production which lacks neither density nor atmosphere. No doubt, the obviously eternally fertile Finnish underground has spat out its next ominous creature which deserves our attention. I am pretty sure that even Quorthon in Valhalla lends them an ear.

Rating: 8 out of 10