Finessed from dissociative tradition by restlessly heutagogic paradigm São Paulo, Brazil-based death metal duo Fossilization craft a corpse-bound, dry-rotted reality from ulterior extra-sensorial experiences on this debut full-length album. Absorbing their environs ’til releasing their own infectious molten pulse of punishing atmospheric drift our protagonists leave an appalling husk in ‘Leprous Daylight‘, a tormented bodily form curled up and reeling into cavernous dread as it plods, pushes and growls deeper than expected. Per an obsession with the recesses of traditional high-dynamic death metal forms they’d achieve sentience in a well-trodden pool, threatening to grow legs in further adaption of existing doomed expertise into deeper chasmic hurl.

Fossilization formed circa 2020 as guitarist, vocalist and bassist V. and drummer P., both of atmospheric sludge/death metal group Jupiterian, were reminiscing on their 2019 tour dates (w/Encoffination, Father Befouled and Krypts) while appreciating the cavernous, ‘Onward to Golgotha‘ inspired atmosphere which each group takes to their own point of excess and personae. As such their contribution to that headspace had been fairly straightforward in its otherwise professionally recorded early stages, skipping the fumbling conceptual rearing that most bands undergo for the sake of a ‘ready clobbering and doomed rush on their first 12″ mLP (‘He Whose Name Was Long Forgotten‘, 2021) and a split with Ritual Necromancy which released just under a year later. Each recording, including this full-length, was given its finishing touches per a mix/master from Krypts drummer Otso Ukkonen, naturally their sense of deranged movement and cacophonic death metal sound fit into this realm of intent squarely. The duo’s sound meets the standards for functionally dread-hauling formae and intense movement, eventually reaching for the atmospheric sensibilities of death/doom metal influenced rhythms on their split release. I’d said as much when giving short review of the split: “The big surprise here is this material from Fossilization whom seem to have stepped up their riffcraft and generally flooded their sound with far more direct doom influence since their first EP last year. Coming from folks who are best known for their atmospheric sludge/death metal work it was only a matter of time before they’d start finding their own rhythms and I’d say these two songs are a sign of much bigger moves to come.” Echo this thought directly toward thus debut.

While I wouldn’t say those were skull-siphoning revelations considering the high standard for the form beyond ~2014 (see: Void Rot, Dead Congregation et al.) and the general precedence set beyond 1994 even it was easy to admire Fossilization‘s relatively straight forward approach upon introduction. There aren’t a ton of surprising moments to be found on ‘Leprous Daylight‘ for the battle-hardened cavern-cored fandom of this sound but that doesn’t devalue the high standards with which they’ve put together this full-length debut, taking a few crucial steps beyond their not so distant formative motions. Pacing is probably the most impressive aspect of the release beyond its abysm-roared tone and grimy production values wherein an intentionally more brutal pace and attack lend sharper contrast within the multitudes of dreary tremolo-picked riffs. Sure, they’ve not wiped an album like ‘Graves of the Archangels‘, or even ‘Charnel Passages‘ out of mind but rather provide a strong companion to that specific taste and tradition; We find most of this communicated between the ragged lunging intro of “Archæan Gateway” and the max-aggressive goring of opener “Once Was God” within its first couple of minutes, getting the general gamut of Fossilization‘s sound out the bag and blasting. The one detail that stands out beyond the main riff is maybe the distorted bass guitar tone and the fleshiness it adds to the rhythms overall.

The dissonant influx that greets the ear as “Oracle of Reversion” saunters into frame is one of many examples of V.‘s above-average sensibilities as a rhythm guitarist who wholly understands textural interest and how variety of experience can be shaped from blustering atmospheric shapes. It is the sort of feat a ‘progressive sludge/death’ metal visionary -would- naturally concoct even if these are simple and bleak death metal landscapes overall. In fact as exciting as the play-by-play motions of this piece might be a closer look quickly highlights how simple they’ve kept the expressivity of this album down to oily coughing pure death metal machinery throughout. In terms of holding my interest this is not such an issue for a debut where a newer band officially sets expectations. Granted it doesn’t stand out too brightly in terms of unique coloration but nonetheless accomplishes an elite form which is satisfying in construction and effect as brutally morbid death metal with a brilliant sense for flowing movement. Step right into “At the Heart of the Nest” after “Oracle of Reversion” and you’ll immediately see the conversation has taken a turn down while the authorship reads the same without missing a beat.

Either you’ve immersed or you’ve moved on by the time Side B kicks in as general variations on those introductory moments and pacing continue to cycle throughout the middle of ‘Leprous Daylight‘. I’d found the title track and nearby pieces fine enough in their extension of the core concept here but the Immolation-esque whirr-and-pound of “Eon” presented the first clear standout from the second half of the full listen. “The Night Spoke the Tongue of Flames” has its slow-blasting stasis in the middle and a generally wandering eye as it rants on and mournful closer “Wrought in the Abyss” eventually trails off with its final third its most dejected but overall the most potent pieces on this record were highlighted well enough as early previews or singles thus far.

Every piece on the full listen of ‘Leprous Daylight‘ reaches a general above-average standard in terms of performance, a few lack in standout rhythmic interest but at a succinct ~37 minutes none of it drags on too long (or indulges too heavily into dissonance) if you’d stuck around for the first few songs without issue. I’d found myself hyped over the full listen to start, loving this style of death metal in general and easing up on the frequency of listens once I’d identified the strongest chunk of songs on the running order. A pretty typical death metal listening experience on my part and I suppose Fossilization is the sort of band I’d need to experience live and sort out where they stand out on stage to get the full picture. Not the most mind-bending, out of left field result for a debut but a beyond impressive first LP from folks who’ve left plenty of room to go places with it over time. A high recommendation.

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