Review by Felix on March 10, 2024.

Sumerian Tombs originate from Cologne and I am ashamed I did not see them earlier on my radar, especially in view of the fact that my daughter lives there too. But now it’s time to right a wrong. Their debut from 2022 was released by Ván Records. The vinyl – I am speaking of the “desert sand” edition – looks great, stylish cover, gatefold, download code, lyrics and double-sided poster band pic / artwork, what more do you want? The price for the whole thing (20 €) was fair as well, so thumbs up for the record label.

Honestly speaking, I do not see a direct connection from Cologne to Mesopotamia. The Rhine is neither Euphrates nor Tigris, but okay, something has triggered the five-piece to use this lyrical topic and ancient cultures can surely be more inspiring than the crowded narrow alleys of Cologne city. To my surprise, the oriental side only shimmers discreet through the tracks of the self-titled work. The material also does not have a ritualistic touch, maybe with the exception of “Light of Death”. Anyway, all of the six fully equipped songs, two intros make the album complete, are somewhere between good and outstanding. They are coherently designed, their patterns aren’t conventional nor overly progressive and the usual ingredients like tempo shifts and breaks guarantee a solid level of dynamic. The melodic parts reflect an eerie aura, the violently pulsating outbreaks of high velocity leave no doubt concerning the metallic core of Sumerian Tombs. Substance is another key word – despite an average length of more than six and a half minutes, there are virtually no lame sequences here.

The A side houses three (very) good songs, but the second half offers the two best jewels one can find in the “Sumerian Tombs”. In my humble opinion, “Altars of the Past” is fascinating from the beginning to the end. A highly attractive lead guitar opens, the drums set in with an incredible pace and after a verse with hyperactive double bass comes… no, not just another chorus. This chorus is a true monument, the living example for the perfect combination of non-sugary catchiness and frenetic torture. “Altars of the Past” bundles the many strengths of Sumerian Tombs in an immaculate manner and the instrumental section which starts at 4:18 seems to lead the listener into another dimension. I prefer a German urn instead of a Sumerian tomb, but if I have to be buried in such a tomb, I exactly choose this one. Only if another corpse has been faster, I would take “The Key – Bloodmeditation”. It does not have as many layers as its direct neighbour in the track list, but its mostly dragging rhythms and melodies form an epic epiphany of the highest quality. The lead vocalist finds the space he needs to spread his full charisma and a few background choirs are well done too. Finally, the “Lamashtu” conjurations remind me pleasantly of Necrophobic, although the music does not have that much in common with the Swedish legend. On the other hand, there is no obvious influence at all. They sound more Swedish than Finnish or Norwegian, but that’s it.

The production sounds full, mighty and warm. Maybe we cannot speak of a perfect balance, because the drums have to struggle in order to be heard. Anyway, this is a classic black metal sound, no underground vibes, but a dark and eerie basic tone. Summing up, those of you who like to get a nearly monolithic, very homogeneous and surprisingly mature debut are invited to lend an ear. Genre-compatible melodies and profound heaviness liaise with each other, I am almost sure you will like it. If not, maybe you are just not yet aware that you are actually a Manowar or Sabaton fan.

Rating: 8.6 out of 10