Slapping away all lotus, crozier and blade-like quill thrust into view serves as the first act of liberation against the hubris of false divinity from the hands of Rancagua, Chile-based death metal trio ORACULUM who’d usher in a new age of carnage via this war-starter of a debut full-length album. ‘Hybris Divina‘ exalts those who’d disturb the natural order throughout its diabolic course, expertly conveying the band’s long-running vision for ancient ‘old school’ black/death metal inspired sounds. As a first sizable monument in their pursuit thus far this work impresses per its sophisticated authorship, proven hands which spare no blood-shed in pursuit of the mayhemic vibrancies of the eternal underground.

Oraculum formed circa 2011 by way of folks best known for their station in long-standing black/death metal abysm Wrathprayer (since ’06 or so) and naturally their tastes in death metal similarly veer toward the carbonized edge where the frenzied haul of bands like Order From Chaos and Sadistik Exekution informed the simplicity and precision of Europe and South America’s greater response to records like ‘Scream Bloody Gore‘ and ‘Realm of Chaos‘. That original effect was probably best exemplified via their first EP (‘Sorcery of the Damned‘, 2014) where empyreal stance and frayed tones created an atmospheric but not wholly cavernous ‘old school’ death metal sound. I did not personally discover their work until doing research about Poison (Germany) for a small feature back in 2019 where my search yielded a cover of “Sphinx” per their ‘Always Higher‘ (2017) EP. It is the perfect example of an short release fully selling an elite band only to be followed by relative silence for ages beyond. ‘Hybris Divina‘ is arisen from a long-dead place, having stored its chaotic and damaging energies for this… the group’s diabolic return.

In the process of scouring Oraculum‘s smaller releases for exacting personae and statement of purpose their lyrics struck me as militant with concern for what is real, what is primally true, and when it is necessary to fight fire with fire amidst numerous calls-to-arms against unthinking religious fundamentalist attitudes. Though I don’t have the lyrics for this release judging by song titles, what I can gather by ear, the layout’s imagery and their history of punching up towards the baseless fealties religious propaganda plants ‘Hybris Divina‘ constitutes a more complete argument made but in a way which aggrandizes those pursuant against religious doctrine. Whatever the band’s lyricist is actually conveying here constitutes confrontation, power exchange, a collapse of the relationship between the worshipper and the worshipped where the tables are perhaps turned. As I delve into a few highlighted tracks here I’d recommend folks dig into their lyrics yourself for clarity of context.

Introductory piece “A Monument of Fallen Virtues” begins signaling some manner of doom, a declaration amidst threatening skies in presage of “The Great One” a diabolic Asphyx-cum-Demigod inspired variant where rough edges and kicking ‘old school’ death metal whip through semi-melodic ideas beset by malign atmosphere. The gasping oration served in between points of unfettered pure late 80’s/early 90’s movement creates necessary point of expanse, a release which more officially unfolds around ~2:38 minutes into the opener that ensures a dynamic of assault and impact. If we can somehow generalize the popularity of European death metal of a certain era with concern for ranting mid-to-fast paced movement, whammy-diving leads and a minimum of six or seven riffs pursued per song these folks have nailed this feeling without sounding rote or half-asleep. As a first impression the core device of Oraculum‘s work is pre-1993 era underground death metal informed, lacking some of the more cruel and thrashing aspects of Chilean death metal.

Of course the remainder of this ~41 minute LP is spent expanding this vernacular into both familiar and unfamiliar realms. As we gear into the ‘Gateways to Annihilation‘-esque grind and slug served by the opening of standout “Mendacious Heroism” Oraculum begin to simultaneously grip the thrashing tension expected of their name while yet commanding a sound any fan of Morgoth, Pentacle or even Venenum would appreciate, fusing that idea with some doomed patience at the apex of the piece. The collective span of those opening moments grant us a more complete picture, an ambitious sound that only heightens its assail with each piece. More crucially the band offer clear an invitation into this obscure realm by way of serious momentum and an admirably high riff count. Stacking this momentum tall before Side A closer “Carnage” is brilliant in effect as rhythmic complexity and a ranting, dramatic hand congests the fray of it all without losing the tortured, menacing tone of their work.

The side of the band that was missing a bit beyond their debut EP was frankly something more slapdash, adrenaline served and I don’t think it fully arrives until “Spiritual Virility” is sorted deeper within Side B. Though I wouldn’t say that this song perfectly sums how Oraculum have transformed in the years since their last EP in 2017 it does feel like a representative piece for the band’s gig as a whole where primordial black/death and the early 90’s upsurge find some common ground without sounding like pretenders. “Posthumous Exultation” blows this thought wide open even more as the longest, most expansively stated and persistent piece on the full listen. The closer appears to have been written as a closer, a fittingly designed endpoint for this album’s exploration and it is a glorious wind-tunneled assault in general.

With regard for their debut full-length album Oraculum successfully curate an elevated depiction of the defiance inherent to any true death metal band, an act spearheaded by intelligence and delivered with both tact and violence alike. The choice of ancient ‘old school’ sounds purposed as basal formae lends the result a stoic yet organic quality any long-standing underground fandom could appreciate at face value for its familiarity… though the band’s defining traits are often presented in challenge of death metal’s “rocking” first popular era, something which remains in tune with obscure aggression yet commands as a creature with purpose and already set in motion; Otherwise the distinct symbolism of the artwork and the greater themes divulged thus far additionally suggest a well above-average result, a cresting touch applied to a creation which believably transcends the usual misappropriation of classic death metal trait in approach of mastery. A very high recommendation.

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