The few seconds of a peaceful start are swiped away by a might riff and an evil grunt, being the kick-start for another merciless blast.
The acoustic beginning of ‘Dawn of the Damned’ is another moment when Necrophobic uses contrast as an amplifier of heaviness. The quintet creates a truly sinister atmosphere and also harshness is a key element, all farmed by a moderade pace instead of going full speed ahead. ‘The Return of a Long Lost Soul’ is one of them. Although being in general a raging album, the band has the ability to add twist and turns to the tota to write seven minutes riff infernos. Death metal and black metal characteristics alternatate seamlessly, leading to songs like ‘Tartarian Winds’, which is a storm rather than a wind or breeze.īeing three decades in metal allows the quintet to set some songwriting statements too.
Musically Necrophobic put their immense experience in balance to create an album that is hellish and blistering. Also kept in red, the first impression is very similar and the motive of the hellish cathedral returns on the artwork, just zooming in a bit more towards the altar of hellfire. ‘Dawn of the Damned’ is the title of a record that comes with a cover artwork being quite similar to ‘Mark of the Necrogram’. Two years later the Stockholm-based metal squad has the next longplayer lining up to be unleashed to the metal world. After having unveiled the debut album ‘The Nocturnal Silence’ in 1993, the metal command added numerous albums to their track record with ‘Mark of the Necrogram’ being the lastest one. Necrophobic arose from the ’90s death metal scene in Stockholm.
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