Unholy Impurity – Oculus Mortis Review

As soon as the listener presses the play button, the opening piece, Into the Abyss, greets them with an instrumental introduction featuring an ominous and doom passage, inviting the listener to what is about to come. Following this, the remaining pieces unfold in a more old-school aggressive black metal style, continuing until the last droplet of music fades away.

Unholy Impurity‘s album Oculus Mortis spans over forty minutes and consists of nine tracks that encapsulate a dark, foreboding, and primal sound, reminiscent of the early black metal trailblazers such as Mayhem and Watain. The band delves into themes steeped in Sardinian occult traditions and anti-cosmic spirituality. Weaving these elements of Sardinian culture and history into their music, setting their work apart in the black metal scene. Notably, some tracks feature lyrics in the Sardinian language, enriching their artistry with a profound regional and cultural resonance.

Unholy Impurity showcases a line-up of musicians who are not only skilled but also involved in various other metal projects, infusing their sound with a rich tapestry of influences. Unholy Impurity is anchored by two fruits of art guitarists, Fossaryu and Aim, who weave intricate soundscapes that oscillate between haunting melodies and fierce aggression. Characterized by tremolo picking, dissonant chords, and chilling harmonics. SrK bass riffs, lays down a deep, resonant foundation that supports the band’s sonic intensity.

Although it often mirrors the guitar riffs to maintain a relentless energy, it also ventures into its dark and brooding territory, adding layers of depth and enhancing the overall atmosphere of their compositions. Unholy Impurity‘s drumming, executed by Athanor F.D.H., serves as the pulsating heartbeat of the music. The technique of Athanor F.D.H. merges relentless blast beats with intricate double bass rhythms and elaborate fills, creating a blend of ferocity and finesse. 

This drumming sustains the tracks’ electrifying energy and infuses the music with a primal, almost ritualistic essence. Meanwhile, Erkitu, the band’s vocalist, delivers his lines with a raw intensity that perfectly captures the dark narratives woven into their lyrics. His growls and screams resonate with chilling authority, becoming a striking centrepiece in their sound. Erkitu‘s vocal approach enhances the band’s deep dive into Sardinian occultism and anti-cosmic spirituality, adding a genuine and ceremonial layer to their overall sonic experience.

Occulus Mortis, emerges as a formidable force, unleashing a relentless barrage of chaotic blast beats, frantic tremolo riffs, and Erkitui‘s frayed vocals. The intensity remains unyielding, whether in blistering speed or more measured tempos. Yet, the album is not merely a one-note assault; it reveals hidden layers, such as group vocals and a pervasive atmosphere that lingers throughout. The slower passages, particularly in the hauntingly titled The Oldest Ones, stand out, with Ancient Stones of Death serving as a pinnacle of the experience.

Occulus Mortis production is cloaked in this intentionally raw, lending an authentic edge to a style that continues to evolve, growing darker and heavier with each passing moment. Tracks like Sos Rajos and Requiem exemplify pure, original black metal fury and desolation, while Black Magic ignites with an intensity reminiscent of old-school thrash and speed metal.

If you’re a fan of raw and atmospheric black metal, their work is definitely worth exploring!

The album concludes with the final track, Requiem. While the darkness lingers as the last note fades into the darkness, we want to give a shoutout to Dead Mask Records for letting us review Unholy Impurity and their album, Oculus Mortis. Now, we are going to conclude the review by talking about the final three sins and concluding the review.