Prosanctus Inferi [USA]
Red Streams of Flesh
Nuclear War Now! Productions
Prosanctus Inferi‘s 2010 full length album Pandemonic Ululations of Vesperic Palpitations instantly caught my ear, with the band’s unique take on black/death metal. Unlike their Canadian counterparts that prefer a brutal and warlike atmosphere, Prosanctus Inferi‘s brand of music leans more towards the sound of bands such as The Royal Arch Blaspheme and their related band, Profanatica, with the band choosing a sound to leave the listener at a state of unease and uncertainty with their trebly riffing style, rather than crush the listener under a slab of heavy, bass-laden riffs.
Red Streams of Flesh sees the band coming back after their 2010 full length album, with new member Jeremy Spears handling the drums after the passing of ex-drummer, Antichristus (R.I.P.). The haunting atmosphere that the band has been known for still remains, as evident from introductory track Virgin Subterfuge Chorus, with haunting bells chiming at the background, instantly bringing listeners into an abandoned chapel, leaving him there to die and rot alone. With the title track Red Streams of Flesh, the thinner production quality is immediately noticed, and this helps to only make the thin and trebly guitar tone even more abrasive, and the music, filthier than before. Jake’s vocals is also immediately recognisable, reminding listeners of vocalists such as The Royal Arch Blaspheme‘s John Gelso, with the throaty growl. The effects of the difference of production quality is best heard on Flayed Ecclessian Sophistry, which is also present on the band’s previous full length album, and sounds more chaotic and violent than ever.
Drummer Jeremy Spears proves that he is as capable as handling drumming duties as previous drummer, Antichristus as he provides the backing rhythm and pace of the music, easily speeding up and slowing down as and when it is needed. His drumming style, along with the riffs that are unleashed by Jake puts a sense of urgency in the music, making it feel almost as if the band were rushing towards a certain destination, yet never managing to reach it, ultimately leaving a sense of uneasiness in the listener, displaying the style of Prosanctus Inferi‘s art. The few lead guitar lines available on the EP are also prominent, sounding loud and proud above the chaos that runs beneath, and while nothing particularly flashy, helps to maintain that atmosphere in the music, like on Bent in Genfulexion.
Like previous Prosanctus Inferi releases, the band does not waste time to slowly build up the climax in the music at all (aside from the introductory track), and just as suddenly as it starts, the album ends promptly at 19 minutes sharp, keeping this no-nonsense EP short and sweet.
Interview with Prosanctus Inferi