Locked in an enduring cycle of death and zombified rebirth yet enduring with a mind for the eternal scourge that’d inspired their action Guanajuato, Mexico-based death metal quintet NECROCCULTUS return once more yielding an impressive milestone under-wing. While there are few guarantees when a band returns for a sophomore full-length album two decades beyond the last ‘The Afterdeath Blackness‘ quickly proves itself ruthlessly dark, authentic to a point of possession and somehow entirely fitting as a title under their cult-storied name. Rooted in the still-thrashing crack of the whip beyond the late 80’s yet mildly evocative of the era of pummel they’d borne from in the new millennium the echoic, riff-obsessed sound achieved here is the best-yet ideal conjured under their name.

Necroccultus formed as a quintet back in 2003 with the intent of creating pure death metal inspired by the late 80’s/early 90’s movement, approximating the brutality of classic Deicide and the more adventurous bent of earlier Cenotaph on their debut demo (‘Promo‘, 2004). The original line-up would conjure the bulk of their initial output over the course of the next few years with their debut LP (‘Encircling the Mysterious Necrorevelation‘, 2005) providing a relatively unknown gem of that key period for Mexican death metal’s reach beyond their borders. Though the production values were rough and some of the leads are inconsistent that album is worth revisiting if you are a fan of The Chasm‘s releases from that era as well as classic Shub-Niggurath (whom they’d later done a split LP with in 2008) or even just Necrophobic‘s debut. By the end of the 2000’s the band’s line-up and output fractured and releases became less frequent.

This is a rare example of a death metal band where every minor release provides worthy context but I won’t detail every single one. I’d nonetheless recommend Necroccultus‘ 2010-2013 era which’d produced their ‘Solemnelohim, Bringer of Death‘ (2013) EP and featured folks from Agony Lords and Ripping Flesh among others as an all-new line-up gathered around vocalist Isaías H. (Doomortalis, ex-Supplicum) who has long been the figurehead behind their name. The second notable return came between 2018-2020 wherein they’d pulled in folks from Morbid Messiah and Guadalajara-based crew Rotting Grave for a more chaotic and cavernous militant demo (‘Unburied Hellish Presence‘, 2020) before the pandemic doused their efforts in bleach. The reason I tread through all of these details is to illustrate both the admirable persistence of Isaías not only to keep the band going but to generally uphold the same dark, often cruelly struck form of classics-minded death metal that’d always been their gig. Going from 2004 to 2020 you’d still recognize the band, or, at least believably associate them and this consistency still applies to this new album and (again) largely restaffed line-up.

The echoic menace of ‘Unburied Hellish Presence‘ translates directly into the ~third reactivation of Necroccultus for ‘The Afterdeath Blackness‘ as the general ideal proposed by the demo’s sound and overall aesthetic is realized and expounded herein. This time around folks from In Obscurity Revealed, Remains, and Undertomb have conjoined their uncanny legion alongside returning bassist Néstor Márquez and the bone-rattling cacophonic death-thrashing quality of the band’s atmospheric reach only intensifies in their hands. Side A leans into the imposing sound design provided via a horrified yet militant verve in mind, unmistakable imminence meant to inspired dread through its tunneling riff-obsessed screed.

Opener/intro “The Highest Sphere of Dead” is the show starter, an omen lead by foreboding riffcraft meant to get bodies moving before standout “Slaughter of Bestiality” sets the bar high for riff count and echoic monstrosity conveyed. The shotgunned groove which introduces the latter mills through a number of variations, contracting in its intensity toward the ~3 minute mark where the scrambling lead break leads us into an Immolation-esque downturn, taking their thrashing late 80’s framework and lending it to sauntering morbidity. The major standout of the first half comes via “Unburied Hellish Presences” one of the more active songs on the album in terms of riff count which likewise leans into the cavernous roar of ‘The Afterdeath Blackness‘ to brilliant effect. The hallmarks of ancient death metal’s simpler intensity run rampant here as quick turning riff changes, pause-and-pivot tactics and more atmospheric progression lend a push-and-pull to the otherwise simple construct of the piece.

The capable threading of frequent riff changes at the centre of ‘The Afterdeath Madness‘ suggest minds exploding with old school spiritus, eager to cut through a host of brain-quaking rhythmic ideas which fuel to the dark assault Necroccultus are known for. At this spire for unholy assail “Dread Midnight Entities” more-or-less eclipses prior impact with its cacophonic ‘Altars of Madness‘-era blaze through the escalation of its main riff. A key point of action from my point of view, the ruthless and repeatable rush of this Side B starter raises the bar for intensity while sporting exceptional whammy bar abuse in brilliant placement throughout. The natural peak of their efforts here persists between “Unburied Hellish Presences” and chasm-strewn volcanic pour of “Multiform Devourer of Souls” which notably catches the peak momentum of the full listen, a point of heated focus in passing beyond the mid-point of the album.

Beyond the righteously cataclysmic end detailed within the atmospheric dread of closer/title track “The Afterdeath Blackness” you’ve gotten the gist that Necroccultus have produced a second LP which is both authentic and additive to their enduring efforts and dark ‘old school’ death metal obscurity otherwise. The brutality of the early 2000’s spawned version of the troupe isn’t wholly retained but they’ve made sure ‘The Afterdeath Blackness‘ not only belongs on their discography but crows it, presenting a clear ideal which raises the proverbial bar without overcomplicating or hyper-modernizing render or technique. The end result is not only well curated and memorable for its presentation but crammed with wall-crawling, maniac riffs enough to sate the stabbing quota of the average death metal classicist. A very high recommendation.

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