Review by Felix on November 21, 2019.

Evil hail from Japan, but don't think of friendly tourists who smile permanently while taking nonstop pictures. These guys are in a bad mood. Their kind of blackened speed/thrash metal rumbles down the road without being interested in any extraordinary features. Evil have the guts to concentrate on pure metal, although this is not the most vehement record of the genre. The fourth track, "Yatsuzaki" for example, offers an almost melodic solo. Generally speaking, the guitars are cutting rather than harmonious. This is not the soundtrack for the birthday party of a seven-year-old girl. Okay, if Godzilla has a daughter of this age, she might be an exception, but I don't want to digress.

The simple compositions shape a very homogeneous work. Nobody needs to fear any kind of bad surprises. The Japanese horde has found its niche without taking care that many bands have already exploited this niche beforehand. The roots of this Rites of Evil can be traced back to Bathory's famous debut. But for those who are less interested in historical milestones, one can say that Evil's work can be compared with outputs of groups that prefer a simplistic, rather minimalist approach that tries to pick the best of different worlds. While the guitar work builds a bridge to the old days of speed metal, for example during "Sword of Stupa", the raw barking of the lead vocalist has nothing in common with the high-pitched screaming of the early vocal artists. His pretty monotonous, sometimes nearly punk-like voice does not push the music on a higher level, but it also does no harm.

Evil do not lack energy and power, but it is also true that they have not been able to pen one or two earworms that keep sticking in the listener's mind immediately. Some riffs shake up the audience while evoking associations to (early) Venom or lesser known bands such as Quintessenz from Germany. The opening riff of "Eternal Hell", the ninth track, points into this direction, but at the end of the day, this mid-tempo stomper does not exceed standard requirements. It seems as if these dudes are not excessively talented in terms of song-writing. On the other hand, they avoid asinine, inappropriate sections and I am sure that they have the heart at the right place. As much as I hate to say it, this alone is not enough for the creation of a genre classic. I miss songs that develop their own personality.

The production scores with a certain sharpness. The guitars dominate a slightly sinister sound that finds the right mix between transparency and a certain amount of filth. Thus, the guys have no serious technical problems. They just need to put more effort into their compositions. Easier said than done (my first song is still not finished, since 1985 I am working on it...) Therefore, I am happy that at least this review is complete now.

Rating: 6.5 out of 10

Review by Alex on October 12, 2021.

Since Dolorous Death Knell, Sulphurous has had many eyes pierced on them. It was an act that stuck its foot out at a time that saw some of the best modern death metal acts release highly praised music. Nevertheless, this would be no intimidating factor for the lads involved in Hyperdontia, they stuck to their scythes and released a monstrous mass of pillaged flesh on a barren and burned landscape. Now once again the duo behind the sulphuric structure has resurfaced with yet another suffocating entry titled The Black Mouth Of Sepulchre. The beasts' name has been lurking around since its first full recording, but the silence has somewhat been broken with this latest effort that now sees the band take on the challenge for a higher podium position.

If you enjoyed their first album then this installment will surely pique your interest, it’s that plain and simple. Dolorous Death Knell was a smacking album, but The Black Mouth Of Sepulchre is on a different level. Whilst hearing it you can't stop thinking "more". Its compositional structure is a beacon in underground death metal and a delight to supporters of the sub-genre.

This album has a good dose of variation in the riffing structure that may even be perceived through the ear of the listener as somewhat technical at times. 'Dry Breath Of The Tomb' has some of this working alongside catchy riffs showing off the songwriting strength of the band. Then there's songs like 'Shadows Writhing Like Black Wings' and 'Eyes Of Fury' that make usage of similar techniques but to greater avail as a stronger sense of rhythm is kept alive.

One takeaway after listening to The Black Mouth Of Sepulchre is the sound of the band that gives off a slight Nile vibe. I might be wrong but that feeling won't go away. Middle Eastern sounds come to fruition ever so often with sharp but short-lived/teasing instances and bursts marinated into the makeup of the record. Plus, it must be noted that these highlights could not have been possible without the drumming being so fluent and accurate in playing with the riffs instead of playing over or against them, in turn easily adding definition to the music on The Black Mouth Of Sepulchre.

These 40+ minutes fly by so fast its surreal when listening to The Black Mouth Of Sepulchre. Never a moment you feel like the material is just dragging on or becomes tasteless, each composition as a whole feels complete, adequate and necessary. Then the artwork adds to all the glory, putting the finishing touches on a marvelous piece of death metal.

Rating: 8.8 out of 10