Review by Adam M on April 30, 2019.

Ossuarium performs a style of death metal that has a huge old school influence.  The sounds of old Entombed and old Obituary can be heard here in all their glory.  The band has that slow burning style that is mid-paced as a tempo and comes across sounding evil to the core.  The songs here have that death metal groove to catch a hold of your attention. 

The somewhat basement sounding production of the band echoes the new visions of Tomb Mold and I believe this band is equally successful at producing new death metal.  Even though it has that edge, the majority of the disc sounds very old school and like it could be part of the late eighties.  It’s grimy and has an element of sloppiness that is actually welcome to behold.  Since there is a lot of quality death metal these days, it will be hard for Ossuarium to separate themselves from the rest of the acts in the genre at the time.  This is the problem with the disc.  It is too similar to a lot of other death metal and thus gets lost in the mix sometimes.  It is still a very strong record that brings many memorable moments to the table.  It is an above mediocre attempt at making a new death metal sound that is largely based on the classics. 

Though it might not be overly new sounding, the music is fun and catchy enough to make a proper impact.  This gets a moderate to strong recommendation to fans of the genre looking for another slant on the classics and some of the newer stuff available.  Though it doesn’t innovate, it takes the best elements from a few bands and splices them together for maximum effect.  Living Tomb is a testament to quality death metal and should be checked out by all fans of the genre.

Rating: 7.4 out of 10

Review by Carcassbomb on May 3, 2020.

This album has a lot of negative reviews out there. For me this was my first Deafheaven album and working back through their backlog has been an interesting journey. Each album is a distinct experience and Ordinary Corrupt Human Love is the most distinct of all. That isn’t to say it’s their best work but rather to validate its place within the discography. They are labelled as post-black metal, which is a rare label to see and can mean a few things. Deafheaven have received this label due to the experimental approach they have to black metal, something they have always done. So, it seems odd to get upset when that experimentation takes a direction that could be considered a departure from the rest of their music. It’s just a hell of a lot brighter this time round and I think that’s thrown off the conventional black metal fans who tend to thrive on being the exact opposite of ‘bright’. In their album New Bermuda, you can hear riffs and sections that touch on what OCHL is doing. I feel like they decided to expand on that aspect of their sound and apply it to the heavier parts of their albums to create a whole new sound.

Two things are plainly present here, shoegaze and black metal. I love this combination because it just works, they are both genres known long brooding songs and often a platform to express negative feelings or destructive thoughts. Again, something I really enjoy. What OCHL does is use the conventions and stylings of both genres instrumentally but applies a tone that is more upbeat and positive. It’s the same familiar transitions, riffs and beats but they have been turned upside down. This is not only a cool concept for an album, but it also shows great craftsmanship musically, to deconstruct the two genres they have been known for and rebuild something new and interesting out of it. They essentially deconstructed themselves as a band. So not only does this fit in with their music but it also speaks volumes of Deafheaven’s awareness of what they do. Essentially, the point of contention for some listeners might be the aesthetic which goes against anything typically found in extreme metal genres.

The vocals are great, on a regular black metal album they wouldn’t be anything special, but they are used with the bright music in a way that is really fitting. A lot of the notes end high where they would end low and the rhythm is different. The vocalist clearly has a solid understand of the genres and he freely manipulates them for his own use. This will be restated in many ways, but I can’t help but express how much creativity is at play here. It has really breathed life into some very old ideas and styles. Other bands have attempted the core concept presented here but this is the most successful version of it that I have heard. The lyrics are stunning, I’d recommend reading them as they contribute to the attitude of the album in a very casually poetic way.

Instrumentally this album is damn near a masterpiece. It grooves, it takes it’s time and yet it is always making its point. There’s a lot of aggressive metal guitar work like tremolo picking used on this album but it’s done on a brighter key or scale, so it just sounds nice or “pretty”. It really is the reverse side of black metal and I’m not sure if it would be as possible without the slow shoegaze aspect of the songs. It still has heaviness, but it’s been inverted, I think this album is a good lesson on the idea that aggression doesn’t equal heavy. The drumming really starts to pick up when the tracks grow in intensity, becoming just as noisy as you’d hear on any other metal record. Particularly the track 'Glint', when it reaches its peak, it goes off like fireworks on the night of your life. It’s all the parts of previous albums that made Deafheaven unique put into one fully realized album that doesn’t borrow anything for the sake of contrast.

Overall this is a very emotionally stirring album and I am very glad I found out about it. It’s one of those few albums that feels like you’re exploring something as you listen to it and I haven’t felt this strongly about an album in a long time. It takes you on a journey and I think that’s worth more than any amount of genre loyalty or pandering.

This album is like your life flashing before your eyes as you lie on the verge of death but everything you see makes you happy.

Rating: 9.5 out of 10

(Originally written for Noob Heavy)

Review by Alex on August 24, 2020.

Sounds like you're being stalked and watched while listening to this menacing piece of black/death metal by the Chilean duo Cenotafio. Larvae Tedeum Teratos is their second full length album following some in-between work and it’s easy to hear why it’s being issued on vinyl through Blood Harvest Records for the first time since its original release. This album is vicious, yet simultaneously, hauntingly eerie; best put, it sounds like the soundscape to being tossed into the lowest most frightening and murderous regions of hell. Coated in a feeling of discomfort, Larvae Tedeum Teratos reminds the listener that there is a place for damned souls all the while providing lengthy sessions of sonic sorcery.

'La Apoptosis' sounds of a poisonous insinuation, maleficently introduced with the sound of burning pyres, lightning and an ominous downpour of Gregorian chanting. The ritual bells strike and without restrain, Cenotafio's insidious instrumental waves assemble at the helm of all that is black/death metal. Miserable snarls and void-plunging growls battle it out with a turmoil of power-chord driven riffing and drumming that takes the shape of doom, black, death and at times a technical mix of the metal subgenres. Altogether, the 10-minute act conjures a sense of desperation that seeps into the following tracks. This introduction to the ceremony licks the light from the lantern dry and establishes a layer of darkness to the already damningly tainted atmosphere.

Plague winds blow and cursed Gregorian chants see the excursion of a masterclass work of black/death metal under the title 'El Martirio', that pulls the listener further down the maelstrom of madness with a well compressed and compact assortment of tempo changes and varying riff structures that work diligently to increase the musical showcase while being careful to not diffuse the aggression invoked thus-far on Larvae Tedeum Teratos. And as the sounds of blades being sharpened on anvils compliment the taunt of turmoil, 'La Sentencia Y La Plaga' carries on the tandem of rhythmic disturbance that meets its pinnacle on 'Maleficae'. Born of fire, these 4 pieces form the puzzle of perdition, they take from the genres and amplify those things that'd cause you to quake.

The artwork fits this sort of release well and really does offer a decisive visual interpretation of the mayhem displayed on Larvae Tedeum Teratos. And while someone would easily envision the depiction in motion whilst witnessing the compositional fright and ferocity intertwined, he/she won't be wrong to have other deranged artistic landscapes come to mind. This is an album that embodies that feeling of wholesomeness but also welcomes multiple interpretations through its obscurity. Perhaps to the band there would be one fitting theme, however in contrast, there appears to be many meanings to Larvae Tedeum Teratos' musical formula.

Larvae Tedeum Teratos sounds complete and never once seemed to have too much or too little of any select asset. Well-structured and plays with tight technical flare; the interpretation of unholy images flashing randomly somehow seamlessly knitted into a unison texture.

Rating: 8.5 out of 10