Review by Jack on June 12, 2004.

It’s been pretty interesting to watch (or rather, hear) the development of Into Eternity over the last couple of years. I remember being blown away by their debut record, but the follow-up Dead Or Dreaming not really doing so much for me. I find Buried In Oblivion‘s quality swaying on the side of their debut record – indicating a pretty decent listen.

In respect to the song compositions on Buried In Oblivion, Into Eternity are still the same as they have been, and chances are that they won’t be diverting too much from this in the future. Not to say this is a bad thing, as Into Eternity have refined and developed a formula that has them locked in as one of the real favorites of the progressive and death metal scenes.

Buried In Oblivion is such a captivating record that I’m sure you’ll have a rough time to not be sucked in by it. Even avid critics of death metal and progressive metal will be swept away in a vacuum of enjoyment. Each song, each minute is as fully diverse and unique as the one before it, making for not one moment of boring listening. And with such a radical blend of genres this is a pretty tough achievement to pull off. You can just imagine the ease that many bands would have in tumbling into the oblivion (score!) of poorly executed attempts at such music. Of particular note is how the vocals are mixed on Buried In Oblivion. Now most bands would be content to have their vocals at the forefront of each track and let the music develop around the story that the vocalist tells. Not Into Eternity. On some tracks the death vocals are pushed to the forefront, whilst the clean vocals provide an alluring backdrop. Yet skip to another track and you’ll find the clean and death vocals dueling with one another for top position – making for an invoking listen.

There is a lot to like about Buried In Oblivion. For first time listeners this is the album to pickup. Nary a fault to be found. For me, however, it’s going to be tough for Into Eternity to top their debut record due to the fact that I had never experienced such a quirky and successful mix of progressive and death metal. If Into Eternity are to suffer with a less than mind-blowing score here it’s because of their debut record.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 8
Originality: 8
Overall: 7

Rating: 7.8 out of 10

Review by Jack on June 12, 2004.

It’s been pretty interesting to watch (or rather, hear) the development of Into Eternity over the last couple of years. I remember being blown away by their debut record, but the follow-up Dead Or Dreaming not really doing so much for me. I find Buried In Oblivion‘s quality swaying on the side of their debut record – indicating a pretty decent listen.

In respect to the song compositions on Buried In Oblivion, Into Eternity are still the same as they have been, and chances are that they won’t be diverting too much from this in the future. Not to say this is a bad thing, as Into Eternity have refined and developed a formula that has them locked in as one of the real favorites of the progressive and death metal scenes.

Buried In Oblivion is such a captivating record that I’m sure you’ll have a rough time to not be sucked in by it. Even avid critics of death metal and progressive metal will be swept away in a vacuum of enjoyment. Each song, each minute is as fully diverse and unique as the one before it, making for not one moment of boring listening. And with such a radical blend of genres this is a pretty tough achievement to pull off. You can just imagine the ease that many bands would have in tumbling into the oblivion (score!) of poorly executed attempts at such music. Of particular note is how the vocals are mixed on Buried In Oblivion. Now most bands would be content to have their vocals at the forefront of each track and let the music develop around the story that the vocalist tells. Not Into Eternity. On some tracks the death vocals are pushed to the forefront, whilst the clean vocals provide an alluring backdrop. Yet skip to another track and you’ll find the clean and death vocals dueling with one another for top position – making for an invoking listen.

There is a lot to like about Buried In Oblivion. For first time listeners this is the album to pickup. Nary a fault to be found. For me, however, it’s going to be tough for Into Eternity to top their debut record due to the fact that I had never experienced such a quirky and successful mix of progressive and death metal. If Into Eternity are to suffer with a less than mind-blowing score here it’s because of their debut record.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 8
Originality: 8
Overall: 7

Rating: 7.8 out of 10

Review by Jack on June 12, 2004.

It’s been pretty interesting to watch (or rather, hear) the development of Into Eternity over the last couple of years. I remember being blown away by their debut record, but the follow-up Dead Or Dreaming not really doing so much for me. I find Buried In Oblivion‘s quality swaying on the side of their debut record – indicating a pretty decent listen.

In respect to the song compositions on Buried In Oblivion, Into Eternity are still the same as they have been, and chances are that they won’t be diverting too much from this in the future. Not to say this is a bad thing, as Into Eternity have refined and developed a formula that has them locked in as one of the real favorites of the progressive and death metal scenes.

Buried In Oblivion is such a captivating record that I’m sure you’ll have a rough time to not be sucked in by it. Even avid critics of death metal and progressive metal will be swept away in a vacuum of enjoyment. Each song, each minute is as fully diverse and unique as the one before it, making for not one moment of boring listening. And with such a radical blend of genres this is a pretty tough achievement to pull off. You can just imagine the ease that many bands would have in tumbling into the oblivion (score!) of poorly executed attempts at such music. Of particular note is how the vocals are mixed on Buried In Oblivion. Now most bands would be content to have their vocals at the forefront of each track and let the music develop around the story that the vocalist tells. Not Into Eternity. On some tracks the death vocals are pushed to the forefront, whilst the clean vocals provide an alluring backdrop. Yet skip to another track and you’ll find the clean and death vocals dueling with one another for top position – making for an invoking listen.

There is a lot to like about Buried In Oblivion. For first time listeners this is the album to pickup. Nary a fault to be found. For me, however, it’s going to be tough for Into Eternity to top their debut record due to the fact that I had never experienced such a quirky and successful mix of progressive and death metal. If Into Eternity are to suffer with a less than mind-blowing score here it’s because of their debut record.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 8
Originality: 8
Overall: 7

Rating: 7.8 out of 10

Review by Jack on June 12, 2004.

It’s been pretty interesting to watch (or rather, hear) the development of Into Eternity over the last couple of years. I remember being blown away by their debut record, but the follow-up Dead Or Dreaming not really doing so much for me. I find Buried In Oblivion‘s quality swaying on the side of their debut record – indicating a pretty decent listen.

In respect to the song compositions on Buried In Oblivion, Into Eternity are still the same as they have been, and chances are that they won’t be diverting too much from this in the future. Not to say this is a bad thing, as Into Eternity have refined and developed a formula that has them locked in as one of the real favorites of the progressive and death metal scenes.

Buried In Oblivion is such a captivating record that I’m sure you’ll have a rough time to not be sucked in by it. Even avid critics of death metal and progressive metal will be swept away in a vacuum of enjoyment. Each song, each minute is as fully diverse and unique as the one before it, making for not one moment of boring listening. And with such a radical blend of genres this is a pretty tough achievement to pull off. You can just imagine the ease that many bands would have in tumbling into the oblivion (score!) of poorly executed attempts at such music. Of particular note is how the vocals are mixed on Buried In Oblivion. Now most bands would be content to have their vocals at the forefront of each track and let the music develop around the story that the vocalist tells. Not Into Eternity. On some tracks the death vocals are pushed to the forefront, whilst the clean vocals provide an alluring backdrop. Yet skip to another track and you’ll find the clean and death vocals dueling with one another for top position – making for an invoking listen.

There is a lot to like about Buried In Oblivion. For first time listeners this is the album to pickup. Nary a fault to be found. For me, however, it’s going to be tough for Into Eternity to top their debut record due to the fact that I had never experienced such a quirky and successful mix of progressive and death metal. If Into Eternity are to suffer with a less than mind-blowing score here it’s because of their debut record.

Categorical Rating Breakdown

Musicianship: 8
Atmosphere: 8
Production: 8
Originality: 8
Overall: 7

Rating: 7.8 out of 10

Review by Alex on September 12, 2019.

Phobophilic has excavated some of the most unnerving death metal you will hear in 2019, this is old school gallantry from the bottom of the genre's most reputable realms. Have we not been battered enough for the year? Apparently not, according to Blood Harvest Records whom will be handling this sacrifice before the altar of embryonic death metal. Undimensioned Identities is Phobophilic's second recording due out the 13th of September, yes Friday the 13th, so better have your hex-proof underwear on and try to grab a hold of this puzzling piece of matter before the scavengers of the underground gobble it all up.

Landing amidst the murkiness with a glowing aura of curses contracted from a place in time no eyes have seen but their own, Phobophilic smoke-screen's the senses of the doubting and corrodes the essence of non-believers with these 4 backwards, crepuscular testimonials. Short in length, but effectively crafted to trigger wandering minds seeking a passage or route to astral and metaphysical mysteries, or so it may appear; Undimensioned Identities provides that frequency of sounds most of us have beard but only few would dare understand; raw, yet graced by the touch of eloquent hands, these abstruse anecdotes crafted and proliferated within the soil of the genre, comes at a time where death metal is peaking and the competition is ever so strong; however, what is at hand can withstand the mighty force of their veteran comrades.

'That Witch Swallowed the Sun' alerts you of the incoming blitzkrieg on the senses, but it's a warning enfeebled. Within the first few musical notes and blustering baying you're already deep-seated and stunned by the trance of the ceremony. The following verses of 'Subterranean Miscreation', 'Diminished to Unbeing' and 'Synaptic Vessel', seal the exits shut and for 18 minutes you're being violently flung-around in a whirlpool of un-creation. Vox are menacingly loud, bass notes drive the cutting force of the riffs and the drumming moves-around like a schizophrenic case.

Interpret this material how you may, personally there's lots of ideas being tossed around when listening to Undimensioned Identities, some within the realm of what we may refer to as fiction (until the penial is penetrated) and some actively apart of grim realities and uncertainties such as nuclear war. Whatever they be, Phobophilic's Undimensioned Identities could be used as accompanying music to the most dreadful and abominable events. Only an ep, but damn it screams 'full-length release'; one better be on the way to follow-up this stellar piece of work. Get your wallets out and add this to your death metal cabinet before Yule arrives.

Rating: 8 out of 10