Review by Chris Pratl on June 7, 2020.

It never ceases to amaze me how Chicago still lies underappreciated in the bowels of the metal underground; yet, here we are, vying for a coveted spot among the favored elite cities that can tout their respective metal representatives with pride. As long as my fingers might find energy to type and my oft-too-verbal mouth might offer accolades to all in my vicinity, I will continue to promote and defend the Chicago contingent.

Cardiac Arrest emerges yet again with a death metal offering that largely separates them from everyone else at this point. Coming by way of Spain's Momento Mori label, the newest offering, The Day That Death Prevailed, is chock full of the familiar riffs of the crunch variety and raw vocals from the lowest recesses of the stomach's acidic cellar. Long-awaited and hotly anticipated, this album will surely satiate and rile up the masses desperately needing a release of late. The cover art, done by local artist-extraordinaire Eric Rot absolutely captures the feelings you're going to find inside this opus. When I was a kid in the 80's it was usually an album's cover art that sold me on a record, and Rot's experience and attention to terrifying detail sets him among the best in the business. His cover art for The Day That Death Prevailed only serves the Cardiac guys well.

Recorded during the COVID-19 pandemic's isolation period, there is a very vivid sense of oppressiveness that is typical in the group's music; the tone is fluid with very “typical” Cardiac Arrest feel throughout all of its tracks, but 'Plague Ridden Destiny', for example, hammers it all home with a massive riff that carries the track towards the apex, which then casually subsides into a slow, doomish climax that more or less defines the current state of things. I'm not sure the guys did this purposely, but it managed to give the current stage of the planet a fitting track to languish within. Plowing right into the next putrid track, 'A Call for Violence', there is no relenting, no need to soften the blows, as the album just forges ahead with all of the subtlety of a violently dusted pit-bull tearing into the meaty part of a muscle-laden forearm, a technique always expected from these guys. The crafty time-changes, melodic riffs (carefully placed in the general sense, but damn well effective) are always present and prevalent in a Cardiac Arrest album, and this offers no quarter and skimps on nothing, proving that there is a certain level of greatness to always be had in a causal repetition of style and craft.

The album taps into the very parlors of your inner torment (known or unknown) using every musical device death metal has to offer. 'Endless Dread' has its slow, almost lancing feel that builds up into what is most assuredly going to be a fast and volatile trip, indicative of its very title. What I always enjoy immensely about Cardiac Arrest is how the songs seem to tell mini terror stories that, while lyrically concise and visual in their own right, are perfectly complimented by just the right amount of instrumental speed, violence, and conclusion when necessary. It's so very easy to get lost in the mire of nuance and overkill when crafting metal music of this caliber, but, skilled authors the quartet are, they seem to have the formula down without falling into lethargic formulaic whirlpools. That alone sets them apart from the rest, and eventually the rest of the metal underground will catch on to this very open secret soon enough.

I've long admired Glenn Danzig's stance on being exceptionally hard on judging a friend's music, and I fall under the same stock in terms of integral indifference. I'm overly-critical of a friend's music, and always will be because there's really no call for passing along phoned-in jargon or simplicity as good music for the sake of camaraderie. That said, Cardiac Arrest simply defines the very essence of death metal and puts in seemingly effortless amounts of creativity and visual horror to create albums of honorable crafting. The Day That Death Prevailed calls upon the mind's ability to process very real and disturbing visages and apply them to even the most unaffected or neutral psyche. Music of any genre is supposed to solicit real emotions and deep feelings (if done well), and if death metal is supposed to provide a carnival-like jaunt into the darker parts of the personal reservoir, then this is, quite frankly, the album for you to enjoy and use as a musical tapestry for such a bleak reflection.

Grade-A death metal, plain and simple.

Rating: 9.5 out of 10

Review by Felix on May 2, 2021.

Death to false metal has always been a good dogma and therefore I am really happy that Nekromantheon deliver on their comeback album anything but vntrve sovnds. Instead, Visions Of Trismegistos explains the horrifying rules of Norwegian black thrash impressively. It needs less than 33 minutes to leave no question unanswered. To listen to this work is as comfortable as a bath in glass wool or ten pieces of sandpaper passed through the anus. (I think so, but I admit I did not gain any practical experience with it so far.) The dudes of Nekromantheon attack incessantly in the most disgusting way. Any form of harmonies is either absent or lies well hidden under many layers of defiant noise. Smooth guitar lines can be used by posers of all kind, but lead vocalist / guitar murderer Arild and his two partners in crime have different plans. Admittedly, they fall victim to a weak moment at the first minute of 'Scorched Death'. Its beginning surprises with an atmospheric intro. (By the way, the guitar at the beginning seems to be stolen from Viking’s “Killer Unleashed”, but that’s surely an coincidence.) But Nekromantheon end this unexpected phase of clemency pretty soon with a razor-sharp, impulsive riff that motivates the drums to give full speed ahead. Arild’s commanding voice adds another element of cruelty and all in all, there can be no doubt that this track represents the typical style of the band in a good way.

Leaving the natural ugliness of Nekromantheon’s art out of consideration, the main ingredient of the material is the juvenile energy of the band. The guys seem to suffer from an overdose of adrenalin and testosterone and the great number of musical ideas leads to song structures which are sometimes slightly difficult to decode. Of course, Visions Of Trismegistos is miles away from any form of progressive metal, but do also not expect catchy or accessible parts. It needs time to find a way through the thicket of meanly sawing riffs, harsh vocals and devastating drums. The solos don’t make it easier for the listener to get access. Most of them, for example that of 'Dead Temples', border on sheer insanity. The production supports this feature, because 'The Visions Of Trismegistos' finds a casual balance between unstoppable power and a cool degree of unclean sounds. Nekromantheon are light years away from boring the audience with a sterile mix, but they also do not satisfy those guys who think that an ugly underground production is essential for providing ugly underground music with the correct framework.

Unfortunately, I cannot say that the album marks a new milestone in terms of blackened thrash. It’s a good work, but every now and then single parts of the songs remain relatively ineffective. They are not bad and ensure a pleasant background noise, but they do not fulfil highest demands. This circumstance results in the fact that I am unable to identify outstanding highlights. Don’t get me wrong, all songs avoid grave defects, they provide furious ferocity and the Norwegians attack restlessly. Nevertheless, the final kick is missing, the component that separates excellent classics from good albums. However, Visions Of Trismegistos is a proper assault against false metal and this alone makes the album recommendable.

Rating: 7.6 out of 10

Review by Michael on March 10, 2021.

Does anyone else remember Wayne's World? The scene with Garth in the basement when he says "We fear change" while hitting that robot hand like a lunatic? I think that's how the guys from Nekromantheon would react if they were told to change their tried and true style.

Okay, this introduction already tells everyone who knows the two previous albums before Visions of Trismegistos what the listener has to expect. It is quite remarkable that the band managed not to create any significant changes in their songs in the last 9 (!) years of not releasing an album. Nekromantheon play their unchanged brutal black thrash metal without making any compromises.

Lyrically, the album is about the gods of ancient Greece and Egypt, combined with many myths and dark fantasies, which is also well reflected by the somewhat disturbing cover.

Musically, the Norwegians offer us a pretty punchy half hour of first-class black thrash, which is played up at a breathtaking pace throughout almost all songs. The sawing guitars mill into the ear and the drummer beats up his drum kit as if it had stolen the last toilet paper rolls in the first lockdown. Singer Arild sounds hilariously pissed off and it all makes for a top notch album for a bad day. Stylistically, it wanders along old Slayer paths, mixed with Scandinavian influences from bands like Aura Noir or Condor.

To highlight a few songs, while I find the album as a whole completely convincing, I would first mention 'Seven Rulers of Fate'. You can find pretty sick guitar solos here as well as some really cool arranged breaks. 'Dead Temples' gives a certain Slayer-feeling (at least I feel it) reminding of "Hell Awaits" in parts. 'Zealot Reign' convinces with almost classic melody arcs and a somewhat slowed down tempo in parts. With 'Neptune Descent' the guys have created their longest song so far. This beast lasts almost 5 1/2 minutes and it is also located somewhere in the mid-tempo range. 'Faustian Rites' adds to the crowning conclusion and awakes wistful thoughts of past Slayer albums again, only the end sounds a little rushed.

Are there questions still? No? Good, then write Visions of Trismegistos on the shopping list and get it as soon as possible!!!

Rating: 9.3 out of 10.