The mixture of old-school grooves and bestial riffing exploding in the opening track “Stygian Nightmare” has seminal influences of old Samael, Hellhammer, and Master’s Hammer. Unlike the Norwegian black metal bands of the 90s era, Nachash wields its metallic elements while focusing on aggressive riffs and slow mid-tempo.

The riffing somehow resembles the classic period of 80s metal. Besides the slow opening the guitar shifts gear to thrash metal in the following song “Sojourner of the Dark Passage” unleashes a battering typhoon before alternating between the galloping riffs. The drums are aggressive and followed by the fury of vocals manifestation, the songwriting exudes a cavernous raw feeling that shows the unique approach of the band.

“The Scythewielder” sounds a bit faster than the previous songs as the guitars and the vocals create a hollow effect the band takes its classic elements from countless bands like Mortuary Drape. The album’s atmosphere is creepy not to mention the subterranean effect of the slow riffs and the aggressive drumming injecting dynamics.

The barbaric riffs dropping catchy hooks are in abundance in here, the guitar emphasis on rhythm the vocals sound savage while the drumming picks up the pace. It is important to mention that the guitars eschew tremolo-picking riffs and there aren’t many melodies just simple riffage played repeatedly.

The album’s title track “Eschaton Magicks” is another highlight that offers textures from the bass guitar; however, the unique intention is to emphasize heavy metallic but sometimes the music lacks effectiveness and catchiness. The pummeling quality of the drums doesn’t lose its power nor is the quality of the assault but I find the songs straightforward.

The old school quality dripping like acid rain across the seven tracks, the drums define such qualities in tracks like “Death’s Mordant Blaze” which conveys an evil thrashing blackened assault poured with extremely dense riffage. Morbid riffing meets cavernous dark atmosphere and the drumming lashes the ears with unstoppable force and the slow riffing is perfectly timed to add some catchiness to the ongoing carnage.

The bass guitar has its moments as it provides great instrumentation across the slow pacing and the combination of the raw production and performance provides memorable hooks. The efficiency is constantly maintained with riffs arranged to sound dark and primitive, the trio continues to foray into slow doomy and fast mid-tempo.

The tone of the rhythm guitar is dark and sounds evil in the track “Empyrean Graves” which begins with a steady march into the pits of hell. The morbidity of the first wave of extreme metal is showcased on this track with the rhythm guitar layered with melody making it one of the best songs on the album.

The almost doomy approach gives it a blackened diabolical tone and a compelling chorus blending catchy melodies and slow primitive riffage. The drumming is outstanding and adds a gloomy feel to the slow pacing and the shimmering atmosphere luring you into the charming songwriting of the Norwegian trio.

The black metal songwriting pulses through the eight long minutes of the closing track “Wherein the Devil Dwells”. With the slow pace of the guitar and the drums providing paced sequences, Nachash takes you on a roller-coaster ride through the serpentine tunnels of hell with its old-school grooves allowing the bass guitar to shine.

The slow cadence of the song is followed by a dark bewitching atmosphere and I wished the band emphasized the spooky occult themes more often, with that being said Nachash has unearthed something evil and primitive from the archives of late 80s extreme metal.

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