Review by Maciek on July 30, 2019.

Since it's my first contact with the band I decided to start with their previous album, In the Name of Chaos. It was very Floridian sounding, resembling the sound of Deicide. And I guess that's a good starting point to try to describe their style. This band from Zurich definitely has its roots somewhere in that area. Although, it's more than just fitting into Florida death metal scene. And with their recent album they definitely came closer to typical slam sounding, reminding me of Organectomy, their fellow band from the same label. What else can be said about their style? Definitely fantastic solos, also comparable to what we could hear on "Domain of the Wretched" by Organectomy. With some progressive elements, in the style of middle-aged Death.

From the production style you can definitely hear more low-tuned, more distorted guitars compared to previous album, but the sound is still clear and you can hear all instruments quite clearly. That includes drums and bass line, which definitely helps analyzing each of them separately. Vocals are slightly distorted, but they're still clear enough to be able to understand some of the lyrics.

The drum work is very good on this album, no tempo or level of complexity of rhythm seems to be a challenge for Stefan. Whether it's furious blast-beats or slower, irregular rhythms. Bass line is slightly in the background, but it's following the main melodies perfectly and puts a proper base for the inventive and varied riffs. Guitars provide very interesting variety of riffs, from chunky to more thrashy style, mixing European and American schools of death metal. The vocalist is mostly providing low growls, Beni's vocals sound to me like David Vincent, but with some effects added, giving it more meaty sounding. Getting close to pig-squeaks, but not going into it fully, just short moments, also reminding me of Aborted's vocals at some point, too.

Generally, when it comes to the level of craftsmanship I don't have any complaints. Technically the album is fantastic, and guys know how to compose a track to make sure it's not boring and they take the most difficult constructs head on. We have tempo changes in every single track and basically almost each track has all elements I mentioned above. Compared to previous album it is definitely a step forward, both when it comes to quality of production as well as complexity of songs. Each track provides a rich mixture of what is good in this extreme subgenre. Even with some slower episodes, like in one of my favourite tracks, the closing "Absolute Zero", which I highly recommend. It has everything you would expect from such an album. And it's another example that nowadays there is no clear distinction between genres and their geographical location - Floridian death metal can also be made in Switzerland. That makes me miss Swedish Aeon a lot as they were that unique example of American death metal created in Europe. Well, until they come back from their hiatus, I'm enjoying the fact that Switzerland has got some good new bands releasing good albums now. Science of Disorder, whose roots are deep within American deathcore scene and now Omophagia, who are playing Floridian death metal with elements of slam and progressive metal. Really good album with only few moments when you wait for some amazing solo to start or for the swift change in tempo. If you're patient enough you'll find so many musical gems that your hunger for good music should be satisfied. That includes hunger for catchy elements, too. Well, if you get used to the fact that quite recently it's become popular to release 10-track, 40-minute long albums. Which is a bit short to me, but hey, what can you do? 

Rating: 8 out of 10

Review by Felix on December 16, 2023.

Some busybodies might say that the here presented split has "an interesting format" or "a highly original arrangement". In my humble opinion, the concept is absolutely moronic. Two bands play eight songs. So far, so good. But both groups present exactly the same four tracks, two own compositions and the two compositions of the other formation. That is a solution of striking simplicity in order to release a "full-length". I am deeply impressed. The interrelations between the line-ups of the participating groups also have to be mentioned, because they stress the strange taste of this release. However, I do not want to be a crybaby. Therefore, let me switch the perspective.

My favourite band from Spain, the glorious Körgull, returns with eleven minutes of fresh noise. Both tunes prolong the band´s war against any kind of beauty. With the maximum of heavy ugliness, the ironclad formation dances on the bones of its victims. Cruel and minimalist riffing intertwines with violent drumming and the shrill cries of Lilith as well as her imperious commands add the final touch. Of course, this masculine kind of female articulation always reminds me of Sabina, the more or less legendary vocalist of Holy Moses. Nonetheless, this stylistic analogy does not matter. Thousands of male death metal growlers sound similar and nobody gives a damn. In other words, I guess Lilith is the ideal cast for Körgull and the ultimate torturer of her microphone. However, if you like to listen to the band´s last works, you will also bow down to the here performed pieces. Körgull has become a reliable partner for the slobbering fans of merciless high quality death thrash. Black metal elements also show up, but they are of minor importance for the shaping of the songs.

Akerbeltz is not impressed by the sonic storm of Körgull. They deliver the same degree of heaviness without being immune against the highest degree of dissonance. Listen to "Spell of the Banshees" and in particular to its part which begins after 70 seconds. It is not a nice experience. But under the bottom line, Akerbeltz strikes back in an impressive manner. The band does not defeat the ruffians of Körgull with their own arguments. Otherwise there is no need for a capitulation. Rattling drums, fairly low-tuned guitars and a nagging lead vocalist create an inferno, a bastard of death and thrash metal. Akerbeltz - as well as Körgull - masters the art of keeping the songs exciting. This detail must be expressively mentioned. It is no matter of course with regard to the tight framework of the selected style that does not leave much room for diversity.

You do not need to have the most expensive speakers in order to enjoy this split. As you surely know, this kind of music unfolds its strength on the basis of a certain amount of dirt. The old triumvirate of the British Warfare is still valid: noise, filth and fury. Therefore, I do no longer think about the nature of the concept. Instead, I praise its good side effect. You have to know that the output presents a particularity. Its best song is called "Hatred Rules Again" - and the second-best tune has exactly the same name. Amazing, isn´t it?

Rating: 7.2 out of 10