Review by Alex on December 26, 2020.

For a debuting band and a EP this is shockingly well put together. The formation behind VØIDWOMB has an impressive piece of work under their belt on Altars of Cosmic Devotion. Everything about this little package speaks volumes about the future of the band which seems to be pointing in the direction of longevity and prosperity. Far too good to be taken lightly or overlooked, this EP signals a new dusk upon the underground.

Augmenting the principalities and powers of 90s blackened death metal with their régime of occult driven death metal the format steps over its DNA boundary to create a bastardized form of black/death metal. The production is crisp and beefy, it'll have you sticking your lips out once the bass lines hit and as for the riffs, they scorch. The drumming acts in a very advantageous manner, using every available moment to fully capitalize on the rhythmic movement to the point of conjuring a trance-like momentum. A track being 'Summon of Utu-Shamash' would gradually build to a black metal tremolo driven climax while certain sections on 'Descent To Ersetu' hit you in the face with immediate burst of black metal before dragging you back to a somewhat mid-paced groovy build of death metal. The contrasting vocals shower down on all entries and add to the dynamics of the music thus aiding in the easy conversion and transition amongst blackened black/death.

To some degree Altars of Cosmic Devotion appear a bit reminiscent of Rites of Daath's "Doom Spirit Emanation" or Nekus' "Death Nova Upon the Barren Harvest" in the slower and mid-paced parts, plus the production is strikingly similar to that used on those albums. Another noticeable trait on Altars of Cosmic Devotion is the fluidity of each song. All entries play like extensions of each other so you never get the feeling the record is just a collection of songs; rather a concise, sound and meticulously crafted effort walking a tightrope between blackened and black/death metal towards its destination. Promising indeed and there's no surprise Iron Bonehead would conspire with something this sort. Keep your eyes fixated on the stars.

Rating: 8.4 out of 10

Review by Alex on July 1, 2019.

Get ready for 28 minutes of despicable black/death/thrash war metal grindcore. This mutating fungus of disturbance by Vomit Angel in the form of Imprint of Extinction loosens the screws of the filth tank to let the ugly gush out and onto the war metal territory. This is the first time ever hearing what Vomit Angel are about and to be honest it’s not bad at all (musically). I tend to stand clear of 1¹/2 length tracks as they usually are about just fucking around and shit with rarely any amount of seriousness existing in the music. I decided to give this one a chance primarily based on the fact Vomit Angel’s latest march in filth would be released through Iron Bonehead Productions; so, if they saw something redeemable in the music, samples of regurgitation and defecation, then perhaps I would too; so why the hell not give the material a listen. After a few spins, turns out the music is not too shabby at all, and even has some rather amusing elements present. 

Firstly, the production garnered positive feedback during the time spent, not overly ugly nor clean, secondly, within the recordings lay a jesting appeal that see Vomit Angel provoke the thoughts of the listener by doing little but meaningful and suggestive actions. The music is straightforward black/death war metal drumming with transitions towards punk metal and thrash metal. The track most appealing to me is ‘U.S.G’, it’s the one song that has less in common with the others when addressing the instrumentation; plus, its leading riff is similar to Goatpenis’ ‘Pleasant Atrocities March’, one of my favorite tracks off "Anesthetic Vapor". The incorporation of the cowbell is the most amusing and surprising element on Imprint of Extinction as it’s not traditionally apart of the war metal theme. Hearing it play an opening role on songs such as ‘Concussion’, ‘Hobo in the Woods’ and the ridiculously short ‘Hollow Earth’ made this effort all the more amusing. The amusement doesn't end there as a drunk and drowsy vocal show undermines the aggressive throats on ‘Vestyfen Classic’. 

Four of the songs featured on Vomit Angel’s Imprint of Extinction can be heard on a tape put out earlier in the year titled Ceremonium Promo 2019. I have not hard it but I am assuming those tracks were re-recorded for this occasion. 

Lyrically I don't know what it is about, and the vocals are not clear enough to be deciphered, however judging from the names of the songs Imprint of Extinction is a mixture of menace and mockery; it makes clear that Vomit Angel don’t take the genre too seriously.

Rating: 7 out of 10