Review by Alex on November 26, 2018.

The second phase in summoning the beast dawns in the form of קדוש and does precisely what was necessary to keep the momentum flowing strongly through the cracks of existence. The path is still drenched in the fluids of the last blasphemy, but this new dusk brings a tribal evolution, one that aims to add depth and a darker, more nefarious layer of ceremonial hawking, drumming and riffing. 

Spectrum Mortis’ second Ep קדוש is a continuation of what was birthed for the masses to consume, one noticeable difference here (among others) is the production which has taken on a deeper sound thus impacting the ritual positively. More work has been put into the compositions which have adopted a slightly more melodic sound and there seems to be a clearer more prominent effect of the guitars on the record. The vocals are the same as on the previous but the drumming seems to have undergone some changes since Blasphemare Nomen Eius, a change that would see Spectrum Mortis’ music adapt more death metal oriented techniques with more differentiating time signatures that ride on the buzz-saw guitar leads. As much as I love the 1st album they released in 2016 because of the primitiveness it displayed, קדוש shows sprinkles of early maturity in the music with the incorporation of more flexible drumming and guitar playing. These changes are easily heard throughout the record, they appear from the beginning of the 2nd entry on the track following the intro. “II. Fiat Nox (Hymn to The Master of Death)” is the first song that brings to front the newer, more polished, multi layered style of Spectrum Mortis’ song writing and production on קדוש . This album sounds much more hateful than the previous, vocals are enunciated with more conviction and depth, the echoing reverb also feels more fitting and necessary than before and the drum work is more diverse, but it is also more meaty. The best song on קדוש would have to be "III.Et Filius Aurorae (Hymn to The Son of Dawn)"; it has everything I was hoping the band would evolve into. The death metal riffing borders black metal trance like tremolo picking occasionally that gives the album a dense, misanthropic, ominous feeling. Everything about the music this time around is stepped-up and enforced with complimenting factors to the band’s style of death metal. 

קדוש is superior to Blasphemare Nomen Eius in ever way; the value of this record seems to shoot higher with every listen. Spectrum Mortis has shown within a short period of time they are beyond capable of making death metal that adheres to the ritualistic feeling many bands have started adopting with only so much success. If a full length comes after this it will be very difficult to top what was offered on קדוש. This is the kind of performance in which you can feel the energy being expelled through each instrumental note being played, it is at times simplistic and simultaneously exhausting, yet whole-fully engaging. What will be next from Spectrum Mortis? Only the veiled altar knows. 

Exercises in Blasphemy:

• “II. Fiat Nox (Hymn to The Master of Death” 
• “III.Et Filius Aurorae (Hymn to The Son of Dawn)”

Rating: 9 out of 10

Review by Felix on November 14, 2023.

Black metal has an almost unique selling point. It can be somewhat flawed and perfect at the same time. For example, the sound of Plaga’s EP from 2011 is definitely inferior. It lacks power and especially the snare sounds hollow and feeble. But this is just the objective description. If I put the focus on the atmosphere that this recording creates, I must say that it embodies the spirit of the genre immaculately. It reflects pain, human abysses and absolute despair. The same goes for the vocals which cover a relatively broad range. They commute between typical nagging and dungeon synth compatible, raven-esque shrieks. And again: I do not think that we can call the man at the microphone a formidable singer in objective terms, but he has a feeling for the essence of blackness and he is able to express it. Unfortunately, this is no matter of course in the darkest genre of metal.

Apart from the vocal performance, Plaga also demonstrate a fine instinct for genre-adequate melodies. They never forget to convey a tragic, numinous or simply evil momentum, a vibration that draws you more and more into the material. Plaga’s black metal is not about exploring the extremes of musical violence, but the band’s intention is to unite the spirit of the genre with its compositions. That’s probably the better impulse, especially in view of the fact that the band manages this approach in a very convincing manner. I do not know many black metal units that are more successful in presenting expressive melodies in a sick, almost psychopathic surrounding. Okay, maybe the band is not immune against too many repetitions, but they are clever enough to bring the title track to an end before it gets boring. And, by the way, all of the three songs have a very resilient substance. Nobody needs to fear 21 minutes without relevant content.

Despite the quite personal overall impression, it is just logical that Plage were not spawned in a vacuum. Thus, some influences from the Northern role models are more or less obvious. And why not? The classic albums (you know their famous names) of Mayhem, Immortal, Emperor, Darkthrone or Burzum have defined a genre whose fascination is unbroken. It’s a sonic sanctuary for all musically black souls and Plaga’s music leaves no doubt that these guys can rely on their authenticity. Therefore I understand each and every maniac who kisses every letter when they mention the band name: P-L-A-G-A.

(This review is dedicated to a great black metal insider in Koceljeva near Belgrade.)

Rating: 8.5 out of 10