Mories is, if nothing else, a man dedicated to trying everything under any alias if it can mean introducing more people to the sound of an opera singer screaming because his or her throat has been burnt to a crisp. This is a compliment, rest assured. So on his fourth album under the name De Magia Veterum, the Dutchman shows that the rationale for this incarnation of his work is one that's wedded to a sense of subtler elements -- just -- for a bit more maximum impact. Thus, "Eradication" acts as an introduction with chimes and drones and moans, but unsurprisingly the immediately following "Thorns" kicks it into classic Mories style with everything at once, but in huge big bursts and swells that actually sound pretty Japanoise more than anything else. The roars of blastbeats and distorted vocals are there as ever, but it's much more of a shuddering wave than complete destruction, a slow, perfect crushing that finally pauses before roaring back even more skitterishly. The swaggering undercarriage on "Purity" and the speedy rampage on "Shall Not Take Form" that suddenly downshifts to a slow, drawn-out crunch are other highlights, while "Passage" scoots on in with a careening wave, loud trebly hooks, background stomps and more, sliding into a stretched-out clattering stumbling rumble that then swings back in even more chaotically. Meanwhile, the truly over the top spiraling guitar solo in "Evoked in Poison" that gets overlaid with huge screams of feedback wails and sheets of noise is some kind of apotheosis, however apparently unstable.
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