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Friday, September 7, 2018
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A while ago, Apocalyptic Records did send me the untitled demo-EP by Cleveland, Ohio, uSSSa-based duo Nekrophasm – sometimes known as Nekröphasm, with the diaeresis on the ‘o’ included. Yet since this one is (1) very satisfying, (2) way too underestimated and (3) not published yet, I felt the urge to write down my thoughts and publish this two-tracker.

This duo consists of members who are both known from the Black Trinity line-up, i.e. Surt (vocals, guitars, bass, engineering) and Mike ‘Mutant’ Corey (drums and percussion; also known as vocalist in Cabra). Officially they did not split up, I think, but they did one sole recording if I’m not mistaken, and that’s this two-track demonstrational one.

Actually, that demo was recorded in 2006 at the Underground Studio and has now been released officially via Black Trinity’s home label Apocalyptic Records (also located in Cleveland, Ohio). It’s a very limited hand-numbered slim-case edition, available as well via digital sources.

Just two tracks are represented, Pale And Forgotten and True Darkness Remains. Indeed, expect a blasting assault, fierce and merciless, devastating everything before you are able to protect your eardrums.

Pale And Forgotten (02:22) is an expression of old-style supremacy: thrashing melodies, pounding drum patterns, low-tuned rhythm guitars, captivating basses and grim, raspy screams. All this comes with a repetitive rhythm (nothing wrong with that; on the contrary, for it intensifies the core, the spine of this sonic morbidity), an old schooled vibe and a raw, primal sound quality. Despite its limited length, this track truly exhales the glory of the earliest years, and it comes with quite some variation in tempo and structure. As said, it’s up-tempo and energetic for sure, but a few slower passages, nevertheless at least as dirty and barbaric, lift the whole up to a higher dimension.

True Darkness Remains lasts longer (06:19), and it is comparable yet different too, at the same time. The comparison goes for the variation in structure and that ancient, primitive and we’ll take no prisoners attitude. The main tempo is slow in general, with some excellent faster excerpts, and it (those slower passages) refers to the likes of Hellhammer and early Celtic Frost (at about one minute, for example, you have such example of hell-hammering finesse). The throaty screams are more ‘blackened’, more sulphuric and demonic here, and the rhythm comes with a somewhat punky approach. The Thrash elements are top-notch, the atmosphere is uncompromising, and the sound quality is totally nihilistic and primal. But hey, don’t you prefer your piece of beef the bloody way? Indeed, that’s exactly what I mean: lacking useless addition, spitting on pathetic trends, paying tribute to the roots of all evil!