Proposing a great work of death worship so effuse in its rancid devotion that it’d cast the sky a poisonous, greying viridian hue upon reveal Dresden, Germany-based atmospheric/melodic black metal duo OUTLAW present a fourth and tall-fuming full-length album within ‘Opus Mortis‘. In building upon the idealized foundation of their third LP much of what this latest release accomplishes involves retuning, a glowing refinement of their atmospheric impact which serves and suits their conception well into gloria. Though the full listen is front-loaded with its most vigorous action this doesn’t end up detracting from the engrossing sensation of pouring through the cyclonic, cloud-bound froth of its full effect.

Outlaw was willed into existence circa 2015 by (then) São Paulo, Brazil-based vocalist/guitarist D. (Nahasheol) who would expand the lineup in 2016 and generally include local compatriots within the band’s first two records, the exception being the addition of Finnish drummer T. (Ondfødt, Moonlight Sorcery) in 2019 who’d appear on every LP including and beyond album number two. The early days of the band appear to have taken direct inspiration from Swedish melodic black/death metal, expanding into both modern fidelity and atmospheric presentation which isn’t so locked into exacting semblance of 90’s formae. I’d rated their third LP (‘Reaching Beyond Assiah‘, 2023) highly for its transcendental treatment of auld melodic black metal standards, praising it to no end in review. Expect a direct continuation of that style and general sound design for ‘Opus Mortis‘ where some ruggedness is retained yet a glowing atmospheric hand helps to conjure a different enough spell this cycle.

‘Opus Mortis‘ begins reinforcing the high standard for melodic black metal set within ‘Reaching Beyond Assiah‘ immediately upon striking into opener “Blaze of Dissolution” a blasting force which soon begins injecting some dissonant rungs, flourishes to start and ungainly grooves beyond, which form the spine-rattling main thread presented by the guitars. I don’t know that my mind would go straight to Watain or even Dissection for reference at a glance but there is a similar sense of grandeur applied to this opener beyond the soar of the main melodic rhythmus and the inner-milling dark forces which pull the piece along. It is fittingly aggressive and dramatic in its statement for an opener and this includes some of the synth/keys fused into the empyreal rhythmic blustering which occurs in the second half of the song (re: ~3:13 minutes in), fueling the first impression with both chaos and hifalutin movement.

Though it may not be fair to suggest Outlaw‘ve front-loaded this album it does strike with a flood of their best face forward. There’ll be no denying the immediate underdark-spawned intimacy granted “Through the Infinite Darkness“, one of the more tradition bound pieces on the album per its starting melodic arc, the greater radiance of its development and the beauteously glowing keys which ping and wobble atop the shape of the riff. This is really just the starting gun pushing beyond the opener’s confrontational stance to a meteoric downward throttling which persists for the remainder of the full spin.

“The Crimson Rose” additionally highlights what might separate these types of guitar arrangements from the early 90’s, or the early 2000’s even, in that the two rhythm guitar forces rarely oppose or congest, ringing in scowling harmony more often than not. This is maybe the only song on the album where atmospheric impact (and the vocal ranting beneath) nearly overtakes the potential for the riff, at least until the full shape of the song is accounted for. Compared to the previous album arrangements which drive ‘Opus Mortis‘ develop a cyclonic expanse more than they do a wavering between two general modes, leaving most songs a blurring ~5-6 minute harass with a melodic (sometimes dual) lead to bind its thrum into sense or to flourish a final thought. This leads to some less interesting movements on “A Million Midnights” for my own taste, speaking to something like “Mother North” from ‘Nemesis Divina‘ more than anything else.

You’ll find even more of this synth-juiced and rock guitar warmed Quorthonian movement on “Those Who Breathe Fire” as probably the most daring use of atmospheric black metal motions and celestially bristling synth and the most characteristic example of change to be found herein. Although I appreciate some of these Norwegian-cum-Swedish built sources of intrigue and fantastical atmosphere there I’d found the riff and the impact of Outlaw prior was traded for dramatic effect to a point that my mind would often glaze within repeated listens. Closer “Ruins of Existence” thankfully matches the impact of the opening numbers, acting to balance the droning effect of Side B with a scathing rally-in with several irregular, riff-focused surges warping its motion throughout. Overall I’d found Side A far more of a thrill yet I won’t discount that the full listen generally appears as more-or-less complete thought.

Although I’d ultimately found myself still clinging to admiration for Outlaw‘s previous LP in encountering the depth of ‘Opus Mortis‘ it’d be difficult to deny the fact that this fourth record from the band builds upon and compliments prior work. There is a notable amount of polish and refinement applied here, both in terms of production values and compositional hand, which leads to an even more outsized vision and voice for the band. The extra-glowingly set face of their undertaking is no less entertaining, it really is an impressive effect once the bigger picture surrounds… though I can’t say I’d have chosen more keyboards/synth over a record otherwise obsessed with the texture and tamper of the riff. In accessing meaningful fusion between ancient methods and nowadays execution the total effect is believable yet eerily pristine in feature, a fine addition to their name from any angle. A high recommendation.

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