Review by Sam on January 23, 2026.

A subtly disturbing chorus of insects and vermin calls to life the old school brutality of Horrendum Vermis with the opening bludgeon of 'Erratic Manifestations Of Formless Creatures'. These dudes wear their influences on their sleeves as they extol the virtues of brutal death, and this is by no means a bad thing. From the Pillardian lead vocals to the cavernous atmosphere created by these musicians, several band names ending in -tion come to mind when attempting to describe their sound. With the riff beginning at 2:38, which is shortly thereafter accompanied by some shreddy lead work, no doubt was left in my mind. The Argentines are the real deal.

The riff that I speak of is a sinewy palm-muted sixteenth note pattern over the top of crushing double bass 32nd notes. Horrendum Vermis utilizes a deep, downtuned guitar crunch that complements the Cyclopean vocals nicely. A second, slightly higher yet still menacing vocal makes occasional appearances throughout the album that adds a killer contrast to the low gutturals. There are only two guys listed in the lineup, so I’m unsure if lead vocalist Matias Carrasco was joined in the studio with an additional singer or if he just has multiple types of vocalizations. Either way, these voices are aptly suited for the Lovecraftian lyrical themes at hand. The fellas from Buenos Aires also do a nice job of adding ambient dynamics to the record, which allows the savage onslaught to breathe.

Drummer Gera Herrera (another Herrera on the throne, look out!) plays a variety of blasts ranging from archaic alternate stroke beats to gravity blasts, even the occasional “slow” blast, which I love. The drum kit has undergone a Pro Tools treatment, but it suits the modern production values of the band. His snare drum stands out in particular because it sounds huge and deep, possibly a marching band snare. The dude really excels in sustained double bass patterns with his vicious and unrelenting attack. These double bass parts are often augmented with some sweet ride cymbal bell accents.

'Astral Levitation' serves as a sinister intermission to the record with its creepy, clean guitar and ominous background synths. Horrendum Vermis has definitely taken a lesson from Morbid Angel on how to create a diabolical aura by using simple ambiance. 'Sumerian Ceremony' reinstates the beatdown with an intriguing lead-off tremolo riff. The tune is propelled by Slayer beats and blast beats until the bottom drops out at around the four-minute mark for some delicious death/doom. This South American ensemble really is the complete death metal package.

'Aklo Sabaoth' (cool song title!) is a standout track where that secondary voice makes another appearance over the blistering 6/8 meter of blasting drums and incendiary riffage. The lead guitar work here is bright and melodic, and there are several other occasions throughout the record where we are treated to some rather magical solos. This track has another moody, clean guitar outro, and I can’t emphasize the importance of these dynamics enough when it comes to a band such as this that mainly seeks to be oppressive with their overall sound and volume. The only other places I’ve come across the word “sabaoth” in metal are Celtic Frost and Danzig, so it’s safe to say these guys have good taste.

In short, if you love the NYC and Tampa bands of yore, Temple Ov Morbid Divinities will not disappoint. Horrendum Vermis has assembled nearly an hour’s worth of an old school sonic assault on the senses that should make record label Iron, Blood and Death Corporation of Mexico quite proud.

Rating: 8.5 out of 10