Exmortus’ Slave to the Sword was one of THE albums that got me into more Extreme Metal as a whole. Crammed full of guitar solos and Neoclassical wank, it was one of the best and most-listened to albums for a High School-aged Cosmo. Now, nine years and two albums since that release, Exmortus returns fresh to Nuclear Blast with Necrophony after a couple releases on Prosthetic Records. Is this one to add to the list of Exmortus successes or does this signing to a major label signal a watered-down sound for a wider audience?
In these new hands Exmortus still has it. Necrophony, though quite long, falls only behind Slave to the Sword and 2016’s great Ride Forth in their modern output. Necrophony still brings the Neoclassical composition, the trademark gang shouts, and scorching fretwork of long-time lead axeman Conan Gonzalez. The trademark Metal rendition of a classical piece is back, as well, although this time instead of Beethoven, the band decided to do a medley of Vivaldi’s Four Seasons (Summer, Act III). Some of Exmortus’ best solo-work ever is present throughout, especially on “Necrophony”, “Darkest of Knights”, and “Children of the Night” keeping the album full of fun. This thing is jam-packed full of the classic Exmortus moves that propelled them to the current heights they’re sitting at from the mid-2010s: wank. But it’s also the longest Exmortus album which gets to be a bit much and will present as a turn-off for some people. Not to mention, the songs “Oathbreaker” and “Mind of Metal” don’t hold their weight, so cutting them entirely would reduce some of this overflow. These are minor criticisms, however. Exmortus have released one of the best albums of an unusually slow August, and I’m glad to see they’re back. Hopefully it won’t be another five years before the next one.
