Fortunately, Hideous Divinity’s song structure exerts a limitless ability as they offer memorable songs with a degree of quality and confidence that can be scaled as top-notch work. The swagger of the musician is displayed on each track of the album, starting from the pummeling force of the drums on “The Numinous One”. While building upon their predecessor “Simulacrum” which paved the path for the Italians to discover their sound where they combine ominous segments and grand passages hence illustrating fantastic song arrangements.

The bombast of the sonic hooks never runs out of ideas, but it also shows how the quartet has evolved in the past few years. The momentous work of the guitar is overwhelmingly brutal, the bass guitar throbs under the unmerciful pummeling of the drums, though the pacing of the drums in each track ranges from furious beats to slow grinding tempo. Somber guttural growls sound as angry as ever, the riffing is packed with chunky riffs, and the unstoppable grinding drums boom like a maelstrom.

The high focus on the blast beats and technical virtuosity is achieved here, however, the songs are more cohesive, and brutal and the production and mixing highlight the performance of songs like “Against the Sovereignty of Mankind”. Hyper-speed blast beats, double bass, and the bass guitar along with the fast-paced rhythm and especially the riffs are just monstrous.

Interestingly, Hideous Divinity managed to imbue the songs with themes extracted from cinematic art, and with all of that being displayed on the track “Atto Quarto the Horror Paradox”, the song arrangement and the opening theme of the song ties melancholy and brutality in one striking combo assault. There are so many grandiose sections wrought by the technical flair of these mad Italians, the percussion allows the solos to flow through the frenzied riffing adding layer upon layer of virtuosity on top of the slower dramatic guitar section, and everything seems to work and fall into the right place.

“Quasi-Sentient” also hits the epic heights of modern technical death metal, but you are unlikely to hear anything similar to what the band offers on its newest album, and by this achievement, Hideous Divinity has taken their songwriting prowess into a theatrical and cinematic sound. This also does not pervade the fact that “Unextinct” delivers plenty of powerful brutality and ominous atmosphere, given the musical potency there is an extra space for the songs to create the needed atmosphere.

While the talent is immediately nailed on “Hair, Dirt, Mud”, this gives us insight into these atmospheric elements, from the grinding blast beats, double bass, and monstrous grunts, Hideous Divinity still sounds as intense as ever, but they kept the core sound of the band by injecting a whole deal of energy.

“More Than Many, Never One” is brutally unpolished. The aggression is utilized to staggering hyper-speed levels blending technical death metal, the paces are complex and there are some powerful breakdowns the drums continue to swagger with their incredible violent blasting. The mixing and sound production is another plus point to this album, while the growls and the instruments are the band’s greatest weaponry. Hideous Divinity takes a somewhat different approach to the sonic formula, despite the focus on sheer technicality and insane grinding sections the album also has another dimension that conjures an ominous atmosphere, complexity, and consistency.

“Mysterium Tremendum” is a more straightforward brutal death metal showdown and while the combination of the bombast guitars and the rapid blasting fulfills such appeal the closing track “Leben Ohne Feuer” highlights the brilliant work of these individuals where they showcase a masterful performance in generating an atmosphere without using any symphonic elements. The dense riffing and the layered solos against the pummeling drums result in powerful transitions adding violent aggression without sounding too enforced or monotonous.

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