{"id":77355,"date":"2018-02-28T15:00:50","date_gmt":"2018-02-28T21:00:50","guid":{"rendered":"http:\/\/www.toiletovhell.com\/?p=77355"},"modified":"2019-08-10T21:13:29","modified_gmt":"2019-08-11T02:13:29","slug":"catacomb-ventures-chilean-death-mysticism-part-2","status":"publish","type":"post","link":"https:\/\/toiletovhell.com\/catacomb-ventures-chilean-death-mysticism-part-2\/","title":{"rendered":"CATACOMB VENTURES: CHILEAN DEATH MYSTICISM (PART 2)"},"content":{"rendered":"
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In the first installation of our Chilean ritual<\/a>, we looked at five of Chile’s most impious and blasphemous practitioners of forbidden knowledge, demonstrating the country’s fetid creativity still mostly unknown to modern audiences. Today, we bring you five more that are their equals in ingenuity and heresy alike.<\/p>\n

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Godless – Ecce Homo: Post Lux Tenebras, Pulsio XIII Ultima Ratio<\/em> (2010, Blood Harvest records)<\/h2>\n

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There\u2019s a very particular kind of grim severity to Godless\u2019 aesthetic from the elaborate Latin title to the discomforting sacrilege of their album art. Inspired by abominations of the past yet not content to follow popular trends nor be tamed by demands for accessibility, Ecce Home<\/em> is among the most rigorously written and carefully layered death metal of the last decade and it completely sidesteps almost everything we\u2019ve come to expect from \u201critualistic\u201d death metal. In this case, its evocation of the blasphemous and forbidden accomplished not by hazy production and blackened droning as much as how deliberately structured and severe it is. Hordes of individual riffs converge and consume one another in a hellish battle for supremacy over carefully paced drumming showing usage of accents, utilizing bass to intonate ominously amidst the swelling flow of bloodshed. Yet the music is far from random and slipshod like in much blast-obsessed death metal. Frequently they\u2019ll home in on a particular texture or theme, carrying it through cycles of repetition enhanced by subtle layers of harmony (something the bass notably contributes to) and gradually modifying underlying drumming. Like Unaussprechlichen Kulten<\/strong>, much of it swims between consonance and dissonance, using the former if only to make the perversions of the latter more revolting in their effect. They don\u2019t have the emphasis on counterpoint that defined their amazing last album but the chaotic mayhem more than makes up for that. If there is one thing I would have to criticize, while I appreciate that they put the longest track at the end (something more bands need to do), it ends on a much weaker note than the rest of the album, spending a little under three and a half minutes dragging on with a sustained doomy chord that while enjoyable for a while, loses its lustre when stretched out that far. It would\u2019ve been cool to write an incredibly layered and punishing six plus monstrosity but this is still among the most creative death metal albums of today.<\/p>\n