Review by Carl on August 4, 2021.

This lot is quite the remarkable band. I got to know them through their On The Verge album, an effort in the vein of Pantera that had its moments, but no more than that. Their debut is an entirely different bag though. This is by far one of the most interesting releases I have ever heard. There's much going on here and it is really hard to pin them to one particular style, but instead of turning into a forced hodge-podge of different influences, it all blends together admirably without losing focus. Curious? No? Well, fuck you, I'm going to start yapping anyway.

The first handful of tracks have a heavy influence of old school hardcore punk, with names like Negative Approach, Siege and Discharge all coming to mind, best exemplified in a track like 'Behind Enemy Lines'. In other songs there's the NYHC sound of bands such as Dmize, Neglect and "One Voice" era Agnostic Front present, but to describe them as just a hardcore band would not do the band justice. The riffing and guitar sound have a definite Massacre "From Beyond" feel to them, maintaining a thrash/death metal feel throughout, while in a track like 'Internal Damage', the NYHC influences are combined with sludgy, doomed out metal in the vein of Saint Vitus, Black Sabbath and the slower material of a band like Carnivore, a trait they share with many of their NOLA contemporaries. The band keeps it varied throughout the whole of the album, interspersing faster parts with slower sections. On the second half of the album the faster hardcore punk influence becomes a little less outspoken, without completely disappearing though. This sees the band delving more into doomier Black Sabbath territory, while in 'Cell XIII' the band tries their collective hand at old school death metal. In 'The Truth Is In The Gas Chamber' they combine the cranky hardcore style of Sheer Terror with a burst of crossover thrash in the best D.R.I. and early Crumbsuckers tradition, while 'Future Of The Carcass' gives us a glimpse of what a metallic version of "My War" era Black Flag would sound like, but with added haunting keyboards. As you probably understand by now, this band will surprise you at every turn their music takes yet does this without becoming forced or unbelievable.

You'd be forgiven to think that all this would sound like a directionless mess, yet the band manages to keep it all together without losing focus of the total picture. The gruff vocals of Perry McAuley as well as the crunchy guitar sound and imaginative riffing act as combining factors for all the different influences embedded within the band's music. Helped in big part by the well above average production, the pounding hardcore/metal hybrid stays on point during the entire album, with sporadic haunting melodies and gang vocals providing some well-placed hooks. Yet in all honesty, this album will require a few spins to totally get to the bottom of what the band has to offer, but it certainly is worth the effort. This is one of those awesome albums that get better the more you hear it, always discovering elements you haven't heard before.

It's not hard to imagine why this album kinda got lost between the cracks of time. It may combine elements from thrash metal, doom metal, hardcore punk and death metal, yet it isn't any of those genres in particular. On this album the band followed their own path, to impressive effect I will add, but at a time that black metal was about to take over from death metal, that had taken over from thrash metal years before that, this album was without chance.

Rating: 8.5 out of 10

Review by Alex on September 7, 2021.

If I'm listening to any thrash metal album for more than 5 minutes, then it must mean that the band is doing something good. My distaste for thrash metal has grown immeasurably large over the years; however, every once in a while, I'm able to stumble across an album that has a chance. Thrash albums that I would recommend usually come from either Brazil or Portugal and today I'm not at all surprised to have found one to add to the family of good thrashing finds and that's Tyranno's March Of Death. 

There's more traditional thrash on the album but there's also other influences to be heard throughout the runtime of the record. Celtic Frost in particular comes to mind along with hints of Sepultura (old Sepultura - "Morbid Visions"), you can hear it on 'Cold Embrace', 'In The Dead Hour' and 'Black Death' that also carry with them a black metal rock n roll mid paced attitude. While I would say that the faster songs are more my preference, the slower black n' roll tunes add a dynamic coating to the album and even highlight some of the better song writing on March Of Death. 

This is one of those albums that sort of grows on you with each listen. It started with 'Anger' that saw keyboards come to front a bit. Nice touch of atmosphere added to the fabric of the album, almost reminded me of old Mystifier. Then there's that transition that they apply so seamlessly from rocking parts to blasting thrash metal as heard on 'Dead Brain, Living Skull'; such 80s thrash metal sort of titles and the vocal pitch/delivery sells you that feeling easily. At first you may feel as though the band are tiptoeing around, but as the album progresses their projection becomes clearer. By the second listen you look forward to each song in a sense that you become more circumspect and engrossed whilst engaged, a testament to March Of Death's song writing.  

Labelling the record as being safe would be inaccurate, perhaps careful would suffice, provided the way Tyranno go about mixing textbook thrash with blackn' roll without compromising that old thrash metal feeling the album adheres to 'Black Star' is just an awesome track, it sounds like a baby between Celtic Frost and Bathory. Probably missing another band in there but those are the ones that stand out the most. And to top it off the deeper you traverse down the tracks the better the music becomes. Their metal proficiencies really begin to eclipse with songs such as 'Praise The Horns', 'Cold Embrace' and 'Black Death'. Undercurrents of melody intertwine with the traditional heavy metal/black/ thrash fused sections. 

As a three piece I'm impressed they were able to pull off such a cool thrash metal album. Then again, I shouldn't be, it's coming rom Brazil. If you love thrash/black/death/heavy metal, then this is the album you NEED.   

Rating: 8.4 out of 10

Review by Alex on January 3, 2020.

Crawling in from the cold corners of Ontario, Canada are Purveyors of Sonic Doom with their double EP Entombed Black Earth and Eyeless Void. Their approach is very stripped down and minimalist utilizing mostly mundane methods or characteristics of doom metal and rarely strays off the pathway taken. ‘Eyeless Void’ could not have been more candid for an 8 minute instrumental track; it’s one tempo, one rhythm, pretty much the template for 'Rot Covered Gold’ (the second track featured on their Eyeless Void EP. 'Flayed One' echoes most of what was done on the prior tracks, keeping the chugging guitar as a defining contributor to the rhythm and pattern of the songs. Though there are some diversions in musical tempo, slight riff deviations and influence meets the ear on the upbeat punky segments of 'Flayed One' , the nonchalant feeling persists. Apart from the Hellhammer cover 'Third of the Storms' there’s nothing eventful taking place on Eyeless Void. However, I think some would find favoritism in the strpped-down, near-husky approach; I did to some degree but the songs could have been better written with less predictability.

Entombed Black Earth however, I found to be enjoyable granted Purveyors of Sonic Doom take chances and dig themselves from the pit of monotony they found themselves in with Eyeless Void. ‘Seafarer’s Lament’ and instrumental title-track ‘Entombed Black Earth’ do more than just play into the hands of standardized raw doom metal. On these occasions the music is given a lift composition-wise, more variations and impactful guitar leads are representative of a haunting atmosphere. Seemingly Purveyors of Sonic Doom are better off in the mid tempo areas of the doom metal as the tunes are bouncy to say. The momentum built is maintained on 'Astral-Witch' and sees the band stepping out of the safe zone to outdo and craft a lasting impression through the repairs implemented to the outlook of the music. The vocals add a layer of dread through the gasped style in which they’re delivered and the raw production helps to drive the effect. Entombed Black Earth is decent enough for a second spin to catch up on anything you may have missed however I think the layout of the band's craft shows room for improvement. 

Rating: 6.9 out of 10