Biolence — Violent Obliteration Review
Biolence, a Portuguese a Death Thrash Metal cult forged in 1988, unleashed their third full-length ritual, “Violent Obliteration,” on September 1st, 2025. Promoted by Viral Propaganda PR, the album was released through a triad of underground banners: Doomed Records, RagingPlanet Records, and Selvajaria Records.
The First Three Sins, The Summary
The Fourth Sin, Overall Discussion
Opening Invocation — Theater of War
The opening hymn, Theater of War, opens with war sirens and audio, mournful cries intermingling with garbled radio transmissions and the sharp crackle of distant gunfire. This auditory tapestry immediately thrusts you into a desolate panorama. It is a landscape scarred by nuclear fallout and the pervasive stench of biohazard decay.
This is not merely music; it is the ceremonial detonation. It ignites the album’s core thematic concerns: the brutal realities of war, the insidious creep of corruption, and the terrifying prospect of global annihilation.
Hymn — Pit of Degradation and the Old-School Barrage
Following this apocalyptic overture, Pit of Degradation erupts, launching the listener into a relentless, and visceral energy of death metal collides with the aggressive drive of thrash — an old-school death/thrash metal assault. The subsequent nine tracks maintain this ferocious momentum. The sound is deliberately raw and unpolished. It is a throwback to the extreme metal of the late eighties and early nineties.
The influences are clear: the classic sounds of that golden era of metal music.
Unearthed Devilmanship — Production from the Bunker
Biolence’s production itself feels unearthed, as if captured deep within a concrete bunker. Every sonic element is laid bare, raw and untamed. This sound possesses a tangible weight. It oozes from the speakers like radioactive waste, potent and undeniably punishing. Yet, amidst this sonic decay, there is a vibrant, almost defiant energy. The devilmanship on display is nothing short of devilish. It unleashes a frenzied barrage of thrashing and death metal compositions. Each instrument is granted ample room to breathe, to carve its own sonic path, and to bleed its unique tone into the mix.
The overall tone is aggressive, yet meticulously controlled. A sound of unhinged madness meeting military-grade precision. Ethereal vocal samples and atmospheric intro/outro passages further amplify the ritualistic tension, building a palpable sense of dread.
Razor Ritual — The Axe Work of David and César
Biolence’s Violent Obliteration locks in at just under fifty minutes, Biolence presents eleven searing tracks. The twin guitar work, delivered by David and César, serves as the ritual’s razor-sharp blade. Their riffs slice through the dense mix with a militant precision and a necrotic flair. Expect intricate off-time riffing, palm-muted chugs that sound like a relentless barrage, and soaring melodic lead breaks. The guitars fluidly shift between the surgical accuracy of thrash and the chaotic, tremolo-picked fury of death metal.
This sonic texture is enhanced by a natural analogue warmth. It’s the result of high-gain tube saturation combined with a tight noise gate, ensuring every note has impact.
Dual-tracked rhythm guitars with harmonized leads—especially prominent in Glory of Savager” and F.U.B.A.R., but also showcase both speed and control within the guitar work. “Slayer’s Seasons in the Abyss meets Death’s Symbolic, with flashes of groove à la Sepultura’s Arise.”
The Third Voice — Daniel Marage’s Bass Foundation
Daniel Marage’s bass guitar is the unshakeable foundation. It injects immense weight and power, grounding the entire sonic structure. Far from being buried in the mix, Daniel’s bass often assumes a lead role. It acts as a third melodic voice, particularly evident on 50 Caliber Freedom. Here, the bass snakes its way through intricate breakdowns and syncopated rhythmic shifts. His playing alternates between fluid finger style and aggressive pick work. Subtle slides and tasteful fills add a crucial element of groove beneath the overwhelming chaos.
The bass is the subterranean pulse. It shifts the ground beneath the riffs and anchors the sheer obliteration that unfolds.
The Summoning Circle — Miguel Sousa’s Percussion
Miguel Sousa’s drumming provides the rhythmic fury. It is the summoning circle that binds the ritual together. His percussion is a testament to rhythmic violence and controlled decay. Expect crisp cymbal articulation that cuts through the mix. Thunderous tom fills create a sense of impending doom. The snare drum cracks with the force of snapping bone. Miguel expertly deploys D-beats, lightning-fast blast beats, and galloping thrash rhythms. His transitions are remarkably fluid, yet devastatingly impactful.
This is especially apparent on the hymn, Extermination Through Mutation. The drum production feels organic. Room reverb is utilized to capture a natural ambiance. Minimal quantization preserves the raw, human violence inherent in every strike.
The Sermon — César’s Vocal Prophecy
César’s vocals are the sermon itself. He declares war, decries corruption, and prophesies planetary ruin with a ritualistic venom.
His vocal delivery ranges from guttural, mid-range screams to sandpaper-rough growls. Drawn-out syllabic inflections give the impression of ancient curses spat from a blood-soaked altar. Occasional gang vocals and backing snarls interject, adding to the anthemic fury, particularly on hymns like Humanity Executioner and World’s Plague.
The Sermon — César’s Vocal Prophecy
Overall, Biolence’s Violent Obliteration is a fruit of art. It delivers a nuclear assault of sound. The album seethes with raw, unadulterated old-school aggression. It is a testament to the power of extreme metal.
Closing: A Toxic Benediction — The Final Fallout
As Violent Obliteration reaches its terminal blast, we extend a ritual salute to Viral Propaganda PR for granting us passage into Biolence’s sonic warfare. With reverence, we now descend into the final triad—the last three sins—and seal this review in ceremonial closure.
The Fifth Sin, The Memorabilia
The Sixth Sin, The Artwork
The Seventh Sin, Disrelish
Biolence
David — Guitars
César — Vocals, Guitars
Daniel Marage — Bass
Miguel Sousa — Drums
Hear The Music
Reviewed by Kristian — editorial architect and ceremonial crafted. © Athenaeum of Sin Reviews.