Review by Alex on June 5, 2020.

The memory of first hearing The Brocken Fires put out by The Rite has continually faded as the music heard on their debut record was not the best effort nor was it the worst. Then again that's what EPs and demos are for, to see what works and what doesn't. Where there was room for expansion is revisited and exploited on their debut album Liturgy of the Black out on Iron Bonehead Records. The training wheels are off, no longer are they testing the water or feeling their way around the territory, instead they appear more confident about how they want to handle their music and where they want to take it. The potential in which The Brocken Fires exhibited has been nurtured with great success reflected through the songwriting musical scope of The Rite's debut full-length album Liturgy of the Black.

Two tracks stood out on The Brocken Fires, the self-titled and 'A Pact With Hell' mainly due to how well they were able to play with the climax and the element of surprise respectfully. Those tracks played like the band at the peak of their finest hour though still very embryonic in its state. That being said, Liturgy of the Black relives those moments through a lengthy offering of black/doom metal from the international band. Their slow, ambient, mop-smearing style of black/doom has now been elevated to a consistent standard of what was gifted on their debut EP along with the occasional twist. Also, their music here has a campy feeling lingering around it that was not present on The Brocken Fires which could be a direct result of the intro and outro, 'The Initiation' and 'Past Lives'.

The music is still very much in the vein of their better songs on The Brocken Fires; however, Liturgy of the Black has taken many notes from death/doom metal as well as 1st wave black metal and has applied those features to strengthen and fortify it's sound.
'The Black Effigy' utilizes the element of surprise through the thrash metal beat and riffing that jump out suddenly, then in reverting to the original slow cauldron stirring pace of their doom, the keyboards appear in sinister fashion to move both atmosphere and overall song to a climaxing moment. This song sets the tone of the music excellently, given some of the band's best features reveal themselves favorably.

'Necromancy' that was originally featured on the band's demo has a tinge of traditional doom working alongside the black metal and mid-ranged power chords that while being a straight-forward track, maintains a constant movement. 'Famadihana' brings out the best thus far from The Rite. Quite reminiscent of a merge between Druid Lord and early Mayhem (Norway), it develops slowly into one of the more foreboding tunes on Liturgy of the Black. 'The Bornless One' sounds very death metal in its opening drum sequence, however it's steady crumble and resurgence with backing keyboards adds to the effect. Again, more death metal riffing shows-up on 'Echoes of Past Lives' supported by those Mayhem-like chords from "De Mysteriis Dom Sathanas". 'Sinister Minister' is their most accessible song via the melodious structure and short run time; one of the highly memorable and catchiest on Liturgy of the Black.

There are some areas that fall a bit short of their true potential but the improvement over their first entry compensates massively for the shortcomings. Hence said, I think Liturgy of the Black is a great successor that promises better from The Rite.

Rating: 8 out of 10

Review by Alex on July 21, 2020.

Graven and Kvasir of the occult black metal monolith Abhor really can do no wrong. Going forth with their latest formation Scolopendra, the duo provides us with some horror themed death metal on their debut Those of the Catacombs. Ever wonder what it would sound like if you took the first wave of black metal and modified it with death metal riffs and the lauded Italian occult doom metal synth approach?, then this is your answer. A cold, eerie, yet provocative and violent old school strain of occult metal goodness. This is one for the vinyl, make no mistake about it, Those of the Catacombs is one of 2020's finest death metal gifts to the subgenre and its residents. Plus, when coming from 2 elders of the black arts, why would you even question its authenticity and quality.

Those of the Catacombs bathes the listener in a flourish of brilliant musicianship all round. Whether it be the drumming, riffing, vocals or the undercurrents of keyboard synth on select tracks ('First-Class Coffin'), you'll feel as though you've been swimming in a lake of the genre's best and most valuable wine. Blown away!!, by the muscularity and scholastic framework of the music to be heard on Those of the Catacombs; masterclass embryonic death metal that will have countless awed at the atmosphere and rapine precision of the effort as a whole.

It’s easy to get pulled into Those of the Catacombs, especially through the no-nonsense approach adopted on the album. There are no pointless interludes or 2-minute buildups to songs besides 'The Smell of Cadavers' (that excels at evincing a malefic milieu), only an in and out mentality is put into effect. 'Exhumed Corpse Exaltation' somewhat paints an image of what's to be expected once you decide to thoroughly engage the music. Mostly mid to fast paced with the occasional tempo drag used to develop the atmosphere.

A candid mix of doom, black and death metal riffing directs the tonality of most songs while the drumming tears into a blend of thrash and doom metal territory ever so often. The vocals on the other hand are not the typical tummy growl, instead they're more of a Dagon (Inquisition) styled throat rasp that gives songs like 'First-Class Coffin' and 'Tormenting Dying Nuns' a real menacing, pestilential and sinister vibe. In fact, the latter, more notably possesses a temperature that is plainly put, evil. Via the doomier half with the keyboards emerging on the song, the atmosphere painted by Scolopendra takes a darker descent and plunges Those of the Catacombs into a domain of increased hedonism.

There really is no rest for the wicked in a literal sense here; as progression on Those of the Catacombs introduces 'Priest's Blood Soup' that firstly, flaunts the most disgusting song title on the record and has the only death metal growl that arrived as a refreshing bit of vocal contrast. And as a reminder, has tiny traces of Abhor's and even Disharmony's DNA, that are given heightened emphasis on the final track 'Crypt of Perversion'.

Those of the Catacombs is a sincere ode to old death metal that is somewhat refined through a first wave black metal approach, looming synth sections and vocals representative of a spectral being. This merged dichotomy of embryonic black and death metal could have only been undertaken with success by members of a band the likes of Abhor.

Rating: 9.5 out of 10