Speed death/black metal band from the desolate wasteland of Houston, Texas.

Theurgia Goetia Summa

Review: Elemental yet engaging death metal which carries the stylings of faster Amerikan bands and is reminiscent of Absu for its visually predictable streams of power chords rhythm differentiated into riffs, Imprecation hover in the grey area between extreme New York styled death metal and absolutist nihilist black metal such as Havohej, creating an onslaught via streams of riffs emphasizing overlaid melodies hammering home to a melodic center.


1. Emperor Of The Infernal Spirits (3:53)
2. The Throne is Lost (4:26)
3. Nocturnal Feast of the Luciferians (3:21)
4. The Awakening of Majestic Darkness (4:30)
5. Vomit Floods of Christian Remains (6:17)
6. As Blasphemy Reigns (3:50)
7. Shrouded in Gore (3:34)
8. Of the Underworld (3:35)
9. Poltergeist Fathomed (4:22)
Length: 37:50

Copyright © 1995 Repulse

Complexities of articulation from within simple riff salad type compositions with occasional glimpses of a solid will toward darkness arise and demonstrate repetition and change as patterns of finding essential relevance and from that, direction. Lyrics are mixed occult blasphemy from ancient cultures and invokation of demonic hatred in an aimless rejection. While vocals are of a guttural but sustained howl and as such serve a rhythm role akin to that of a snare drum, their constant texture undulates throughout an unselfconsiously assembled assault of sound. Like similarly formed Incantation this death metal band institutionalize an aesthetic of constant intense dynamic of multiple directions converging simultaneously, producing a paranoia and perverse fascination with the mysteries of complexity and conjecture.

With skillful interweave within the ripping skein of guitar formation that assembles the core logic of each piece, song structure moves to emphasize rhythm as foreshadowed through energetic blast or drop cadence drumming, matching vocals to rhythm work and letting that structure of thrust carry listener attention forward as guitar shades ambiguities with shifting textures and crosshatches of simultaneous motions in phrasing. Baffling in the depth of complexity seemingly immanent to that process, the music of Imprecation fashions from basic parts and simple heuristics reasonable metal that matches the ferocity of its raw energy to a dark spirit that, had this band continued, might have fully emerged in a culmination of this anithesis of peace in sound.

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