Review by J.C. on January 25, 2026.

When you see this music review and try to search for the band's name or album to listen to it, I need to warn you to be mentally prepared because the taste of this gothic metal album is just so... unique.

The band comes from a medium-sized city not far from Mexico City, so the songs are sung in Spanish. There are no female vocals; the lead singer uses only extreme vocals throughout the entire album. However, the distortion in the vocals isn't high, so listeners can hear most of the syllables. It's a stiff singing style, just like the overall stiffness of the music.

Next, let's talk about the guitar riffs, which are the part most likely to be disliked. There are often long sections of neat but thoughtless riffs, reminiscent of some gothic metal bands with an industrial influence. They're stiff and have a feeling of heavily filler-laden, but strangely, riffs differ between sections rhythmically, and some riffs are somewhat difficult to play. So the conclusion is that the band can write riffs; they just seem to enjoy copying and pasting long sections lazily. Fortunately, not all guitar parts are stiff; occasionally, there are black-metal-style tremolo pickings and melodic solos, but they are too few.

A slightly better element is the piano. In some songs, the piano can be heard from start to finish (especially the first few tracks), with gorgeous melodies and a strong classical feel. The piano often plays very fast, and the phrases are neat, which, like the riffs, enhances the feeling of stiffness of the music. However, unlike riffs that rarely provide melody, the piano contributes most of the melodic lines, and they are excellently written. In particular, the second half of "Alma negra" features a brilliant classical piano fast-playing segment. Besides piano, the keyboard organ sound appears in the later tracks, such as "Hasta la última gota de sangre" and "Lilith," both clearly keyboard-driven songs, and the latter's splendid arrangement even has a feel reminiscent of Finnish melodic death metal band Children of Bodom. In "Apuñalado en la garganta" and "Carnicería humana," the keyboard plays long classical sections, while in the final track "Lobo," it plays a short progressive rock passage. They are all highlights of this album.

Finally, let's focus on drums and bass. Because the music is fast, the drums are also played very quickly, especially in some sections with rapid and neat riffs and fast, organized piano, it’s not surprising to see continuous double pedal drumming. The bass is also loud, and surprisingly, it can still be faintly heard over such heavy, distorted notes.

Overall, this album has some highlights, but its weaknesses are obvious. The overly rough and lazy songwriting makes the album feel like a rough production. Additionally, the stiff, neat riffs, fast and exaggerated piano, and tetanic vocals act like intense seasoning, providing excitement to someone while scaring away many gothic metal fans who seek soft, tragic beauty. However, amidst the roughness, subtlety does exist: between every two long, highly repetitive sections, one can still find some clever transitional arrangements. Also, in each song's intro, the band carefully builds up rather than jumping straight into the main theme. And after intense sections, there are softer parts, ensuring the music is not relentlessly violent from start to finish.

This is a very different gothic metal album. For listeners new to gothic metal, it's recommended not to start with this band; they should first listen to the classical gothic doom metal of Theatre of Tragedy, Tristania, and The Sins of Thy Beloved. But for those who are already deeply immersed in gothic metal and want something different, this Mexican band is also a good choice.

Rating: 7.6 out of 10