The opening track “Humanoid” portrays the ugly face of Deiquisitor in which the drums take the tempo by storm, but there is some interesting aspect concerning the method that the trio brings to the table. At its most extreme level HBC (drums, backing vocals), TFJ (guitars, vocals) and DA (bass guitar) deliver a fine scale of brutality. The heavy churning of the guitars seems to be inspired by the old school death metal as there are influences from bands like Suffocation, and Deeds of Flesh. The following track “Striving for Destruction” builds on raw and chunky riffing with the drums acting like a grinding machine conveying heavy death metal bluster in your face. The drumming is absolutely fast intense, relentless, and constantly pummeling boosting each track through multiple breakdowns then picks up at a blistering tempo.

Deiquisitor‘s sonic themes are rooted in outer space and science fiction concepts of the apocalypse, which seems to give us horrific fantasy about what the future of mankind might hold. And this is what “Apotheosis” elaborates in its fast and mid-tempo pacing. One of the main aspects of the new album is that the songs are composed on an assortment of craftsmanship. For example, “Autosarcophagy” brings in the ultra-brutal bludgeoning of the drums allowing the vocals to manifest the menacing and the brooding dark growls.

Alongside their countrymen like Undergang, Phrenelith, and Baest, Deiquisitor demonstrates its ability to create a unique sound in the underground death metal genre. There is some semi-dissonance injected into the song structure adding some changes in the riffing which highlights the guitar work on the album, though I consider this a leap compared to the band’s previous albums.

The fourth album shows how the trio has reached a sonic refinement that is carried out by abrasive riffing assault. Although the songs are somewhat technical, Deiquisitor follows in the footsteps of the U.S. brutal death metal a la Immolation. The vocals on tracks like “The Eyes of Worms” and “Apophis” settle into the menacing mid-range growl and the drums all over the place, and they are uncompromisingly played with brutal eruptions. But without the technical complexity and the modern approach Deiquisitor prefers to throttle the chunky riffing. “Reflected by the Void” is one of the brutal tracks on the album.

The songs keep a pummeling pace throughout the album and while songs like “Deiquisitor” display the ruthless lethal machine. The bold riffing stands as a raw and brutal statement, and the blistering drums leave the listener as soulless as the humanoid. Interestingly the trio managed to inject some heavy pacing as well as variation while the quality of the riffs and the drums are far off from the repeated blast beats there is still an old-school feeling that encapsulates the album.

The quasi-brutal parts are seemingly injected into the composition and the riffs rumble like a violent maelstrom, the vocals on the album aren’t quite guttural. Still, they boast a bold interaction with the bludgeoning drums. The drumming patterns are just superb and especially when the tempo slows down the crushing pace expands into a massive slab of filthy old-school brutality.

“Apotheosis” is by far the band’s strongest effort to date and the guitar work, in general, is absolutely incredible. Although there aren’t many lead guitars, but certain songs emphasize the rhythm guitar. While “Atomic Assassins” and the album’s closure “Praise the Lord” contain plenty of breakdowns Deiquisitor manages to keep it in the filthy aural vibe of the U.S. death metal. The guitar tone is grimy and full of chunky riffs followed by dual screams making them flow well in the backdrop. As a whole, the fourth album of the Danish trio Deiquisitor refines its framework to the old filthy, and abrasive raw death metal.

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