Review by Brexaul on December 3, 2022.

Judicator has always been a very interesting case, with a nice origin story attached to the whole project. They started off as a bedroom project and evolved to a full-fledged band that offered multiple highlights and some much needed Blind Guardian-ish solace in an era that Blind Guardian were experimenting with orchestras and were steering away from their signature sound. Their last 2 albums were fantastic, driven by Alicia’s array of riffs and Yelland’s performances and while the commercial breakthrough was still pending, they cemented their name as one of the most promising power metal bands of the US scene. And then, Alicia, i.e. the main (read: sole) songwriter quits the band and dark clouds form over the horizon. A longstanding bet for Judicator, and to a certain degree to us (the fans) was whether they could move forward after Alicia’s departure. Happy to say this is a bet that they triumphantly won.

The Majesty Of Decay is varied, powerful, ambitious, FRESH but above all it’s Judicator. Taking a step further from the tried and tested Guardian clone formula, the band reinvents itself by offering a multitude of styles and mood changes, well-crafted and addictive. From the more power metal moments of the Ursas (which are ironically the “weakest” façade of the new Judi) and the aggressive 'Daughter Of The Swords', to the extreme experimentation of 'The High Priestess' and the avant garde magnum opus 'Metamorphosis' the album is highly enjoyable and inspired.

The technical prowess of everyone involved is undeniable, with special mention to the great rhythm section that offers a nice variety of rhythms (and great basslines!), while Balmore Lemus proves to be a very worthy replacement, offering some excellent solos and leads throughout the compositions. The mix helps of course being very room-y and natural, boasting a nice balance on the instruments and complimenting the odd keys and their various experimentations.

John Yelland’s signature voice will always have that Hansi spirit, but it is not deliberate or overused, apart from some standard harmonies that we can still find dwelling in their songs and man, his lyrics hit dead center. The wackiness in the 'The High Priestess' paired with the existential lyrics, make a very interesting contrast that just works and I’d really like them to explore that path further down the road. There are of course the more standardized power metal explosions to keep the fanbase happy, but I really think their transformation will be complete on their next album when their evolution will be more refined.

And this is exactly my reason for not giving a higher score to this otherwise fantastic album. The impressive variety is a double-edged sword and it feels they took it a little too far at times and they sound diverse just for the sake of subverting the expectations. Nothing major, but they do sound a bit pretentious at times forcing themselves to color outside the lines with no real value, other than “shock”.

Judicator managed to break their mold and emerge from a very uncertain cocoon, changed but stronger than ever. I can’t be 100% sure if The Majesty Of Decay is their best album, but it is without doubt their most interesting and ambitious one. Welcome back!

Rating: 9 out of 10

Review by Alex on June 18, 2018.

This is what it would sound like if the universe decided to enfold, implode and swallow itself in a stir of fathomless depravity and sin in all of its tortures and seductions meshed together in bravado. The first time I heard Ritual Necromancy I knew without a doubt they were the real deal. Disinterred Horror is their best offering to date. This typhoon of tyranny and transfixing turmoil will gut the last bit of lingering light from your soul. Death metal album of the year for me so far. I don't see anything topping this unless Impetuous Ritual delivers another one of its incurable ailments without warning. A catastrophic arsenal of atomic artillery Disinterred Horror truly is.

"To Raise The Writhing Shadows" kidnaps and hypnotizes the listener, places him/her on an altar of cryptic symbols, attaches chains to the arms and feet and hooks them to monster trucks all facing separate directions, I don't have to tell you the rest. Demolishing guitar tones battle against a vocalist that sounds like a bear and lion are engaged in territorial warfare as they dance in the depths of destructive drumming and riff rampage.

"Command of the Sigil" is one of those tracks that can really send the dance-floor into a state of delirium. The vocals are deeply enunciated (as throughout the album), they are affirmative with a bulldozer like busting and boom. The song is consistently mid-paced with short bursts of increased speed just before its chaotic ending.

Disinterred Horror has near perfect timing, it's neither too short nor long. The drum snare is beefy and the mighty mage behind it occasionally borders the semi-technical side of death metal whilst still hitting heavily. There is also variation in speed throughout the album with the longest song "Cymbellum Eosphorous", showcasing a slow inundating approach baring much resemblance to funeral doom.

The production is somewhat clear but still has a raw edge to it. I love the pinch harmonics on Disinterred Horror, they're catchy and makes you want to repeat the album just to relive the buildup leading towards those sections. Disinterred Horror does justice to Ritual Necromancy's Christ-less catalog. It's been a long wait since Void Manifest stormed from the croaky catacombs, now the ghouls convoked have brought with them the transgressions of old.

Rating: 9.3 out of 10