Released: 2016, Redefining Darkness Records/Testimony Records
Reviewer: Peter Atkinson
Brazil’s Escarnium deliver the sophistication and savvy of modern blackened death metal with old school authority on their second album, Interitus. The album's buzz-sawing, vintage Swedish death metal-style production not only helps accentuate the band's fiendishly crafty compositions and performances, it keeps it grounded and ensures jagged edges remain to do their damage.
And damage, destruction and death are pretty much what Interitus - Latin for ruin or extinction - is all about in the first place. Starvation, genocide, nuclear horror and man’s inhumanity to man are served up here in abundance and with gusto by the quartet on tracks like “While The Furnaces Burns,” “100 Days Of Blood” and “Omnis Mortuus Est – Interitus,” with the fire-breathing vocals of Victor Elian, who should remind some of Behemoth frontman Nergal, telling the tales.
Elian joins forces with Mauricio Sousa to provide the grinding riffs that form the basis of the soundtrack to it all. And at its core, especially with the stampeding drums of Nestor Carrera and thundering bass of Vitor Giovanni, and the grittiness of the production, the band deliver the sort of visceral thrill and sheer brutality of Dismember, Bolt Thrower or Immolation in their prime.
But Elian and Sousa also conspire for the deft soling, taut harmonies and majestic sweep that give much of the material its contemporary flair. The dueling guitars on “100 Days Of Blood” and “Omnis Mortuus Est,” the epic scale and dynamism of “Starvation Death Process” and “The Gray Kingdom” or the technical savagery of “Human Waste” recall, again, Behemoth or Morbid Angel and ensure these guys can’t easily be dismissed as mere throwbacks.