Infernaeon – Genesis to Nemesis
Florida’s INFERNAEON is a demonic death metal band with symphonic keyboard atmospheres and a progressive approach.
Genesis to Nemesis is INFERNAEON’s sophomore release and it’s a concept album based on a historical point of view of the Bible. The title of the album reflects the concept of the Bible from beginning to end.
The band’s name is self-made and means a reign of 10,000 years of fire. The band believes in spiritual Satanism, and their lyrics reflect it. The music is fast and furious with blast beats and lighting fast guitar riffs. There’s more of a technicality in the guitars than with most bands of the genre.
A few esteemed guests appear on Genesis to Nemesis, including Oderus Urungus (GWAR), Erik Rutan (HATE ETERNAL, MORBID ANGEL), Bill Hudson (CIRCLE II CIRCLE, CELLADOR) and John Slaughter (COLDERA).
The eerie intro of “Into the N.O.X.,” with its synth/piano and orchestral samples sets the tone for the onslaught of pummeling death metal riffs and the harsh barking vocals of Brian Werner (MONSTROCITY) on the first proper song, “First of the Fallen.” Werner’s vocals are not the typical Florida Cookie Monster death metal growls, but more akin to blackened thrash metal. The underlying keyboard atmospheres of “Lilith Satanas” gives it a dark and sinister tone.
As a concept album about the Bible, their cover version of METALLICA’s “Creeping Death” is a perfect fit for the album. It’s an interesting take on the thrash classic. Guest vocals by GWAR’s Oderus Urungus (INFERNAEON are currently an opening band on GWAR’s Bloody Tour of Horror), lend a very distinctive flavor to their added keyboard accents and the ominous chants during the “Die” section. A true stand out track is the well crafted “Ziasudra.” The diverse and ominous “The Scar of David” is what sums up INFERNAEON the best I think. It has everything that embodies their sound; symphonic atmospheres, eerie melodies, fierce riffing, appropriate tempo changes and tight drumming.
INFERNAEON’s conviction and musical precision cannot go unnoticed. But the riffs and song structures aren’t anything new or really even remotely complex. However, their symphonic and even progressive elements gives them a unique twist on the genre. It’ll be interesting to see if they can keep the momentum going with their sound on their next album.
By Kelley Simms