Deeds of Flesh - Path of the Weakening
Review: In raging buffered structures of intricate relationships between elements of conflict in the progression of a unifying theme this band slash out structures from percussive blasts overlaid with speeding double-strumming guitar that incorporates evolutions in black and death metal to use internally harmonized melody to augment mood in chord progressions and consequently, the larger motif of changing riffs.
Hacked from rough shapes of dominantly themed pattern, these songs lay claim to riffwriting ability through an amazingly facile sense of direction within riffs and how to vary vector slightly to produce great effect in concert with rhythm, which is its less visible yet essential expertise in creating thematic hierarchies of riff motifs which expand into powerchord phrasing architecturally ratified in infrastructure through delicate but direct use of internally harmonized melody within the tonal space of each chord, producing a slow rise of inner cryptic themes from abruptly variable blasting, conclusive, complex music.
1. Indigenous to the Appalling (Mutinous Human) (3:49)
2. Lustmord (2:41)
3. Path of the Weakening (4:51) 
4. Summarily Killed (3:32)
5. Sounds of Loud Reigns (3:27)
6. Execute the Anthropophagi (4:00)
7. I Die on My Own Terms (2:36)
8. Sense of the Diabolic (3:19)
9. A Violent God (3:28)
Its sense of theme is acquired in the Wagnerian sense, where the simple juxtaposition of ideas of different musical directions creates a tone centering and framework through spatial aesthetics, but integrates its composition through abstract and dynamically acquired yet relevant relationships in tone and arrangement through the fact of their motion between hard (stopping the flow of momentum) and soft (continuous flow) rhythm depending on the larger pattern to each song naturally commanding a sense of harmony to this space. Done without pretension, but with listener-hardened and refined rendering which is designed to present the most intense metal moments in succession without melting out listener tolerance for intensity. In the same vein, dynamics are given enough consideration to grant selective and careful value to how the focus of the song is orchestrated through transfer of intensity in mood.
This iteration of the music of Deeds of Flesh has the speeding complexity of motion that distinguishes its style for percussive abrupt rhythmic strumming and sudden dynamic atmospheric shifts as aesthetic, finding a theory of assembly for the divergent chaotic fragments of melody it builds together into ecosystems of interaction between riff thematic codices, forming a texture that suddenly produces its clarity in a distant contemplation with nihilistic intent and universal relevance, exposing the raw lucidity in this gruesomely pounding, highly listenable music.