Review by Alex on February 18, 2019.

Let’s step into the dark province that Italy’s Demonomancy prepares. Black/death metal played with much vibrancy, might and will is what Demonomancy brings to the altar before the congregation of foul listeners. The 8 rituals presented on Poisoned Atonement provide us with a violent display of the band’s soundscape. The music on here takes many shapes and forms thus offering unique and enjoyable moments of thrashing and bestial drumming, deep death metal vocal pronunciations and ritualistic chanting. Buzz-saw guitars bestride the flow of the music and add piquancy to the hatred spewed forth from the vocals. This is just a direct assault on the ears of anyone within range of the beast wielding the death machine.

Keeping in mind that this is still black/death metal by which it is relatively difficult to implement far-flung ideas without damaging the original blueprint of the genre’s music. When we take a look at what is offered on Poisoned Atonement, one can for sure say that this is by no means anything new nor innovative; however, Demonomancy’s ability to create each song diversely is a welcome proficiency. Simply adhering to one monotonous sound or method of song structure will definitely see a band drown the listener in boredom especially if he/she is one that looks forward to multiple tempo changes and catchy compositions. When inspecting songs such as “Fiery Herald Unbound (The Victorious Predator)”, “The Day of The Lord” and “Nefarious Spawn of Methodical Chaos” one can certainly distinguish the difference each has. From the Slayer-esque Tom Araya vocal opening scream on “Fiery Herald Unbound (The Victorious Predator)” to the mid paced flow, folk like vocals and instrumental pattern of “The Day Of The Lord” to the tremolo picking and thrash driven almost crossover flow of “Nefarious Spawn Of Methodical Chaos”; the listener truly gets a mixed bag of metal to satiate his/her musical cravings given they are fans of the genres mentioned. Keeping in mind some bands can barely go 20 minutes without becoming blandly soporific, Demonomancy manages to keep the listener/s at attentive ears throughout the 43 minutes of Poisoned Atonement’s playing time. 

The production is stellar and quite clean considering this is black/death metal, however the music is intriguing and exercises dominance through a beefy sound that delivers some awesome headbanging moments. As stated before this kind of metal has been done many times over in the past, however Demonomancy’s ability to make slight incisions an injections of foreign rudiments on the surface level of the music, gives it the appeal of relevance and eventually longevity. Poisoned Atonement is definitely one of the albums that should have a high ranking on most year end top 20 lists and so forth. More attention needs to be given to Demonomancy due to their successfully calculated approach to the black/death genre which has heralded many notable acts.

Rating: 8 out of 10

Review by Alex on February 18, 2019.

Let’s step into the dark province that Italy’s Demonomancy prepares. Black/death metal played with much vibrancy, might and will is what Demonomancy brings to the altar before the congregation of foul listeners. The 8 rituals presented on Poisoned Atonement provide us with a violent display of the band’s soundscape. The music on here takes many shapes and forms thus offering unique and enjoyable moments of thrashing and bestial drumming, deep death metal vocal pronunciations and ritualistic chanting. Buzz-saw guitars bestride the flow of the music and add piquancy to the hatred spewed forth from the vocals. This is just a direct assault on the ears of anyone within range of the beast wielding the death machine.

Keeping in mind that this is still black/death metal by which it is relatively difficult to implement far-flung ideas without damaging the original blueprint of the genre’s music. When we take a look at what is offered on Poisoned Atonement, one can for sure say that this is by no means anything new nor innovative; however, Demonomancy’s ability to create each song diversely is a welcome proficiency. Simply adhering to one monotonous sound or method of song structure will definitely see a band drown the listener in boredom especially if he/she is one that looks forward to multiple tempo changes and catchy compositions. When inspecting songs such as “Fiery Herald Unbound (The Victorious Predator)”, “The Day of The Lord” and “Nefarious Spawn of Methodical Chaos” one can certainly distinguish the difference each has. From the Slayer-esque Tom Araya vocal opening scream on “Fiery Herald Unbound (The Victorious Predator)” to the mid paced flow, folk like vocals and instrumental pattern of “The Day Of The Lord” to the tremolo picking and thrash driven almost crossover flow of “Nefarious Spawn Of Methodical Chaos”; the listener truly gets a mixed bag of metal to satiate his/her musical cravings given they are fans of the genres mentioned. Keeping in mind some bands can barely go 20 minutes without becoming blandly soporific, Demonomancy manages to keep the listener/s at attentive ears throughout the 43 minutes of Poisoned Atonement’s playing time. 

The production is stellar and quite clean considering this is black/death metal, however the music is intriguing and exercises dominance through a beefy sound that delivers some awesome headbanging moments. As stated before this kind of metal has been done many times over in the past, however Demonomancy’s ability to make slight incisions an injections of foreign rudiments on the surface level of the music, gives it the appeal of relevance and eventually longevity. Poisoned Atonement is definitely one of the albums that should have a high ranking on most year end top 20 lists and so forth. More attention needs to be given to Demonomancy due to their successfully calculated approach to the black/death genre which has heralded many notable acts.

Rating: 8 out of 10

Review by Alex on February 18, 2019.

Let’s step into the dark province that Italy’s Demonomancy prepares. Black/death metal played with much vibrancy, might and will is what Demonomancy brings to the altar before the congregation of foul listeners. The 8 rituals presented on Poisoned Atonement provide us with a violent display of the band’s soundscape. The music on here takes many shapes and forms thus offering unique and enjoyable moments of thrashing and bestial drumming, deep death metal vocal pronunciations and ritualistic chanting. Buzz-saw guitars bestride the flow of the music and add piquancy to the hatred spewed forth from the vocals. This is just a direct assault on the ears of anyone within range of the beast wielding the death machine.

Keeping in mind that this is still black/death metal by which it is relatively difficult to implement far-flung ideas without damaging the original blueprint of the genre’s music. When we take a look at what is offered on Poisoned Atonement, one can for sure say that this is by no means anything new nor innovative; however, Demonomancy’s ability to create each song diversely is a welcome proficiency. Simply adhering to one monotonous sound or method of song structure will definitely see a band drown the listener in boredom especially if he/she is one that looks forward to multiple tempo changes and catchy compositions. When inspecting songs such as “Fiery Herald Unbound (The Victorious Predator)”, “The Day of The Lord” and “Nefarious Spawn of Methodical Chaos” one can certainly distinguish the difference each has. From the Slayer-esque Tom Araya vocal opening scream on “Fiery Herald Unbound (The Victorious Predator)” to the mid paced flow, folk like vocals and instrumental pattern of “The Day Of The Lord” to the tremolo picking and thrash driven almost crossover flow of “Nefarious Spawn Of Methodical Chaos”; the listener truly gets a mixed bag of metal to satiate his/her musical cravings given they are fans of the genres mentioned. Keeping in mind some bands can barely go 20 minutes without becoming blandly soporific, Demonomancy manages to keep the listener/s at attentive ears throughout the 43 minutes of Poisoned Atonement’s playing time. 

The production is stellar and quite clean considering this is black/death metal, however the music is intriguing and exercises dominance through a beefy sound that delivers some awesome headbanging moments. As stated before this kind of metal has been done many times over in the past, however Demonomancy’s ability to make slight incisions an injections of foreign rudiments on the surface level of the music, gives it the appeal of relevance and eventually longevity. Poisoned Atonement is definitely one of the albums that should have a high ranking on most year end top 20 lists and so forth. More attention needs to be given to Demonomancy due to their successfully calculated approach to the black/death genre which has heralded many notable acts.

Rating: 8 out of 10

Review by Stellarium on April 9, 2024.

"Espousal" is a term used to denote the adoption of a way of life, or a belief system. This seems wholly apt for the Swedish death metal scene from around 1991 to 1996, maybe even to present day depending on who you ask. It's also a fucking excellent title for this cassette tape by Swedish metalheads Disgorge (not to be confused bands of the same ilk from Argentina, Germany, Mexico, The Netherlands, Norway and finally, The United Kingdom) I'm sure you can also see the confusion that will arise whenever anyone in the death metal universe mentions the band name. From what I am able to determine, the Swedish collective that this article attends to are one of the first to use it, so they can have a free pass.

This tape, especially in light of being the first demo release is a truly superb forgotten nugget that is simply begging to be re-discovered. What makes it stand out, twenty-seven years later? Let's delve down and take a look.

There is a intro of sorts, attached to the beginning of opening song 'Reborn' which sounds like some sort of ritual chant, possibly Tribal or Satanic, but truly it's hard to tell and doesn't really matter. The immediate brutality of the demo follows the intro as it leads directly into it with technical drum fills and extremely gruff, deep vocals that remind me of two releases that came further down the line - but very similar in execution - Akercocke's debut album "Rape Of The Bastard Nazarene", and Evil Incarnate's often under appreciated and flawed debut offering, "Blackest Hymns Of God's Disgrace In Truth", there is more than a passing hint of similarities in these releases, such is the influence of early death metal bands entertaining the same handful of tropes, but it has to be said that when something in this genre isn't broken, only a dickhead would try to fix it.

The other things about Disgorge's initial release that threaten to beget a resurgence are the clear and crisp production that belie all expectations from a self-released cassette from the early-mid nineties - so cohesive it is that every instrument can be heard clearly and in a deep unison with each other; all pronounced enough to comfortably lead and jostle their way into the limelight, while being heady enough to know their place and remain at the front of the marching band. This is something I find deeply difficult for many artists to translate onto a finished product, and I won't profess to knowing how easy this is on a budget or anything to infer knowledge of production, but I will show my confusion as to why it isn't something that I hear more regularly with the more extreme genres of metal.

Finally on the shortlist of talking points is the utilisation of the guitar solos, particularly the ones on 'Importunate Sermon' and 'Insanity' in which Martin Petersson is able to convey a mystical, Eastern-sounding melody that seems to be both entrancing and mournful, sometimes simultaneously. Add in the groovy rhythmic changes that the drummer, Jonas uses to support the solos and we are left with something capable of changing and re-inventing itself with no indication of any talent or technical ability showing signs of stress or decline.

The ultimate thing to take away from this release is that each song has shown something to keep this reviewer listening to it. Not only that, but for at least a solid two-thirds of the recording, I had to make notes on things that really stood out for me and made me rue my earlier inability to discover this band. There is nothing, nothing here that you won't have heard before. However, I wager that you won't have often heard it all this well polished and cohesively. To hear it nearly three-decades after it was originally conceived is probably the most brutal and bloody cut that one could suffer - but at least it lived up to its name.

Rating: 8.5 out of 10

Review by Stellarium on April 9, 2024.

"Espousal" is a term used to denote the adoption of a way of life, or a belief system. This seems wholly apt for the Swedish death metal scene from around 1991 to 1996, maybe even to present day depending on who you ask. It's also a fucking excellent title for this cassette tape by Swedish metalheads Disgorge (not to be confused bands of the same ilk from Argentina, Germany, Mexico, The Netherlands, Norway and finally, The United Kingdom) I'm sure you can also see the confusion that will arise whenever anyone in the death metal universe mentions the band name. From what I am able to determine, the Swedish collective that this article attends to are one of the first to use it, so they can have a free pass.

This tape, especially in light of being the first demo release is a truly superb forgotten nugget that is simply begging to be re-discovered. What makes it stand out, twenty-seven years later? Let's delve down and take a look.

There is a intro of sorts, attached to the beginning of opening song 'Reborn' which sounds like some sort of ritual chant, possibly Tribal or Satanic, but truly it's hard to tell and doesn't really matter. The immediate brutality of the demo follows the intro as it leads directly into it with technical drum fills and extremely gruff, deep vocals that remind me of two releases that came further down the line - but very similar in execution - Akercocke's debut album "Rape Of The Bastard Nazarene", and Evil Incarnate's often under appreciated and flawed debut offering, "Blackest Hymns Of God's Disgrace In Truth", there is more than a passing hint of similarities in these releases, such is the influence of early death metal bands entertaining the same handful of tropes, but it has to be said that when something in this genre isn't broken, only a dickhead would try to fix it.

The other things about Disgorge's initial release that threaten to beget a resurgence are the clear and crisp production that belie all expectations from a self-released cassette from the early-mid nineties - so cohesive it is that every instrument can be heard clearly and in a deep unison with each other; all pronounced enough to comfortably lead and jostle their way into the limelight, while being heady enough to know their place and remain at the front of the marching band. This is something I find deeply difficult for many artists to translate onto a finished product, and I won't profess to knowing how easy this is on a budget or anything to infer knowledge of production, but I will show my confusion as to why it isn't something that I hear more regularly with the more extreme genres of metal.

Finally on the shortlist of talking points is the utilisation of the guitar solos, particularly the ones on 'Importunate Sermon' and 'Insanity' in which Martin Petersson is able to convey a mystical, Eastern-sounding melody that seems to be both entrancing and mournful, sometimes simultaneously. Add in the groovy rhythmic changes that the drummer, Jonas uses to support the solos and we are left with something capable of changing and re-inventing itself with no indication of any talent or technical ability showing signs of stress or decline.

The ultimate thing to take away from this release is that each song has shown something to keep this reviewer listening to it. Not only that, but for at least a solid two-thirds of the recording, I had to make notes on things that really stood out for me and made me rue my earlier inability to discover this band. There is nothing, nothing here that you won't have heard before. However, I wager that you won't have often heard it all this well polished and cohesively. To hear it nearly three-decades after it was originally conceived is probably the most brutal and bloody cut that one could suffer - but at least it lived up to its name.

Rating: 8.5 out of 10