However, there are some influences mainly from bands like Vomitory, Aeon, Severe Torture, and Cannibal Corpse. While persisting in the same career the band has gone through lineup changes in the past and presently, the new album includes guitarist Ivan Gujić, bassist Stian Gundersen, and a new vocalist Sindre Wathne Johnsen. The opening track “Epitaph Inscribed” begins with an atmospheric built-up of the guitars that sounds somewhat doomy when the punchy riffs are followed by heavy drumming. The guitar department leaves a good impression by imbuing the song with grisly melodies, the songwriting is varied enough to keep the tempo in a gradual energizing tempo.

The overwhelming melodies are spot on in the following song “Ode to the Obscene” before the drums transition into pulverizing double bass accompanied by catchy guitar lines and a flawlessly executed rhythm section. However, Blood Red Throne utilizes various riffs pushing for some violent and aggressive drumming focusing on up-tempo. We get a whole package of modern brutal death metal riffage to keep the songs more varied, there are some parts where the drums outburst like berserk and create a convulsing effect with the heavy bass guitar on the track “Seeking to Pierce”.

The heavy guitar distortion is charged with brutal riffing and infectious grooves are brought to the table, as expected the Norwegian quintet makes a full display of savage butchery. The riff work is laden with hooks and unveils some high technicality from the dual guitars, while stylistically Blood Red Throne focuses on mid-tempo their riffs are replete with killer dynamics.

“Tempest Sculptor” is unrelentingly brutal and groovy the drums lend some clinical blast beats, this track is unexpectedly heavy, but there’s also an overall intensity. “Nonagon” unleashes plenty of jaw-dropping riffs, from the groovy chugs to the energetic drumming that is direct and efficient. The riffing method bears some influences of Swedish death metal bands like Vomitory, the solid quality of the drumming performance is impressive. The guitar arrangement and the dual sickening growls sometimes remind me of Aborted where the shrieks, growls, the focused grooves, and the double bass kicks show the trademark core of these Norwegians.

“Every Silent Plea” is among the fastest songs of the album where the swaggering drums deliver a destructive strike of blast beats, and there are plenty of chugging riffs that provide constant hooks to the listener. The monster cookie growls come in hand with the superb drums, and the guitar melodies add another element to the song’s composition.

The level of technicality is superbly executed with a lethal dose of death metal brutality, Blood Red Throne clearly shows that they can write some twisted death metal songs. The rhythm guitar is at the peak of its performance the band sticks to its blazing guns throughout the album’s duration and there is uncompromising precision in providing heavy dynamics and infectious riffs in the eponymous track “Nonagon”. It begins with some intense riffing and impulsive propelling blast beats displaying the approach to modern brutality, and the heavy riffage is in perfect balance.

The melodies brimming with technique as there are subtle tremolos utilized in some songs while the drumming plays a fundamental role in tracks like “Split Tongue Sermon” which is full of galloping riffs, fast drumming execution, and slow chugging guitars that fall like molten lava.

“Blade Eulogy” begins with a brutal riff gallop and there is always a balance between the incendiary melodic sections and up-tempo drumming that provide the song with a brutal tonality, the lead guitar and the barbaric growling offers an example of Blood Red Throne’s skills. The closing track “Fleshrend” hits with the punchiest riff attack and brings multiple breakdowns to the energetic tempo from the brutal pace of the drums, and bass guitar, and the effective quality of the heavy riffage painting ominous colossal clouds that perfectly pictures the album’s blood-red cover art.

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