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Before and after a split comes the EP in analysis, showing a trio from Sweden dealing with uncompromising styles all related to the past; yes, there is a large dose of old Swedish Death metal, but components from other Death metal schools and Doom are also in, so as to make the 6 tracks as various and attention-catching as possible.
This mini-CD was recorded at the Bingoberra studios in November 2010, but only now has it finally been released by Deathgasm records due to some tribulations with another label and I'm convinced it's destined to become a rare cult item sooner or later, as it always happens to acts going back to the past with no grants to the present, nor at least the most recent paragons brought to the scene.
After a brief rotting Mortician-like introduction, "Eaters of the Void" showcases a very traditional production rich in the mid-range, matching the lyrics about death, hell on earth, necrophilia, eradication of the meek and so on, to offer a really consistent product. You can be taken to think of the early Entombed, occasionally with more dynamic riffs.
The tight drums and the fast thythm of "Graveyard Revisited" can't but remind of Unleashed, yet there're some evil and vomited vocals that their mates don't possess. What they definitely have in common with the other Swedish veterans are the breakdowns and what follows (blastbeats and intense guitar plots in particular). The axe solo is on a good level and the song's mood leaves the listener satisfied.
Whispered vocals of damned anticipate the melodic very first structure of "Skärseld (Return to the Unholy)", the only composition sung in the Scandinavian pounders' mother language. This track's another killer, even if it's less groovy and has fewer elements to make it stand out: it's monolithic, minimalistic and rotten, displaying the band's full potential of brutality and raw power.
With "The Fall of Flesh" things change steadily: the vocals go even lower, the unforgettable mid-tempo rifferama causes prolonged headbanging, indulging in Dark riffs tending not to crush or assault like their trademark normally requires. There's an additional Doom/Death break that owes Apophis so much, whereas the cleaning slightly distorted guitar sounds can have common ground with Dark Millennium's discography; yet, the three-piece do it in so clever a way so as not to make you want to throw the record away and forget for the rest of your life. We're ahead of the most complete song out of the 6 and you can tell it's a bar beyond the rest.
"Deathbound" contains riffs and a refrain seizing your interest from beginning to end, notwithstanding the plain Grave, Dismember and Unleashed influences present here and there.
The closer "Deliverance" adds Autopsy and Immolation to the concoction, along with whispered menacing vocals, Swedish Death ogrish vocals and riffs and a shitton of Doomy riffs, ending with making me feel as if I were in the pits of the netherworld, lost for eternity.
If there's an outfit loyal to the vintage Swedish Death metal canons, that is Mordbrand (arson in English), with the exception of the look (all of the 3 members have their heads shaved), but that's something they can work on. You won't find anything new on this EP, because the goal is to paint the past anew maintaining the tradition, and it's done in the most stimulating and smartest possible manner.
"Necropsychotic" is unbelievably heavy and comes with fangs bared. Be prepared for a surrealistic venture through several genres of haunting ass-kickings, because this is an album meant to frighten, impress, and envelope the listener!

MARKUS GANZHERRLICH - Jan 30, 2012

	'*Necropsychotic' (Deathgasm Records) MARK: 82/100*



	Before and after a split comes the EP in analysis, showing a trio from Sweden dealing with uncompromising styles all related to the past; yes, there is a large dose of old Swedish Death metal, but components from other Death metal schools and Doom are also in, so as to make the 6 tracks as various and attention-catching as possible. This mini-CD was recorded at the Bingoberra studios in November 2010, but only now has it finally been released by Deathgasm records due to some tribulations with another label and I'm convinced it's destined to become a rare cult item sooner or later, as it always happens to acts going back to the past with no grants to the present, nor at least the most recent paragons brought to the scene. After a brief rotting Mortician-like introduction, "Eaters of the Void" showcases a very traditional production rich in the mid-range, matching the lyrics about death, hell on earth, necrophilia, eradication of the meek and so on, to offer a really consistent product. You can be taken to think of the early Entombed, occasionally with more dynamic riffs. The tight drums and the fast thythm of "Graveyard Revisited" can't but remind of Unleashed, yet there're some evil and vomited vocals that their mates don't possess. What they definitely have in common with the other Swedish veterans are the breakdowns and what follows (blastbeats and intense guitar plots in particular). The axe solo is on a good level and the song's mood leaves the listener satisfied. Whispered vocals of damned anticipate the melodic very first structure of "Skärseld (Return to the Unholy)", the only composition sung in the Scandinavian pounders' mother language. This track's another killer, even if it's less groovy and has fewer elements to make it stand out: it's monolithic, minimalistic and rotten, displaying the band's full potential of brutality and raw power. With "The Fall of Flesh" things change steadily: the vocals go even lower, the unforgettable mid-tempo rifferama causes prolonged headbanging, indulging in Dark riffs tending not to crush or assault like their trademark normally requires. There's an additional Doom/Death break that owes Apophis so much, whereas the cleaning slightly distorted guitar sounds can have common ground with Dark Millennium's discography; yet, the three-piece do it in so clever a way so as not to make you want to throw the record away and forget for the rest of your life. We're ahead of the most complete song out of the 6 and you can tell it's a bar beyond the rest. "Deathbound" contains riffs and a refrain seizing your interest from beginning to end, notwithstanding the plain Grave, Dismember and Unleashed influences present here and there. The closer "Deliverance" adds Autopsy and Immolation to the concoction, along with whispered menacing vocals, Swedish Death ogrish vocals and riffs and a shitton of Doomy riffs, ending with making me feel as if I were in the pits of the netherworld, lost for eternity. If there's an outfit loyal to the vintage Swedish Death metal canons, that is Mordbrand (arson in English), with the exception of the look (all of the 3 members have their heads shaved), but that's something they can work on. You won't find anything new on this EP, because the goal is to paint the past anew maintaining the tradition, and it's done in the most stimulating and smartest possible manner. "Necropsychotic" is unbelievably heavy and comes with fangs bared. Be prepared for a surrealistic venture through several genres of haunting ass-kickings, because this is an album meant to frighten, impress, and envelope the listener! MARKUS GANZHERRLICH - Jan 30, 2012
	Line-up on this record: S. Larsson - g., b. (also in Karensdag, The Law, ex-Horned) Johan Rudberg - d. (also in Karensdag, The Law, ex-Horned) Per Boder - v. (ex-God Macabre, ex-Macabre End) Contacts: Värmlands län - S E-mail: Official site: http://www.myspace.com/mordbranddeath Demo-/Disco-graphy: -Evoke/Mordbrand (Split - 2010) -Necropsychotic (EP - 2011) -Morbrand/Bombs Of Hades (Split - 2012)