This time around the Boston quintet unsheaths the full force of death metal riffs. Therefore, the second album sees vocalist/guitarist Justin DeTore (Dream Unending, Sumerlands), guitarist Chris Ulsh (ex-Mammoth Grinder, Power Trip), bassist Doug Cho, guitarist Jensen Ward and drummer Connor Donnegan (Genocide Pack) consolidating their sound. Its cavernous effect doesn’t feel forced, the drums immediately hits you like a bulldozer. The guitar department infuses slow gloomy riffs where you can hear some similarities to Dream Unending.

‘Philosophical Collapse’ and ‘Built on Wrought’ deliver straight bludgeoning from the drums. The tempo has some very remarkable slow melodies that will instantly grab you. Innumerable Forms has taken a considerable effort to re-structure the frameworks of their music. The band has abandoned its concrete style of cavernous death metal, manifesting distorted cacophonous with the atmosphere setting up a certain mood of bleakness on the following track. The sophomore spans 39 minutes which seems like an unending journey. The growling on the album is chock full of deep guttural growls and the guitars display a great talent for setting up a melancholic feel. Mournful dirges provide a wholly dark, suffocating atmosphere and it seems the Boston quintet has put emphasis on these sorrowful melodies.

‘Incremental’ breaks the slow bleak tone with the drums that carry a ponderous tempo. The guitars always improvise at playing somber dirges. The guitar melodies are minimally utilized in the songs, but once they are inserted the music becomes infectious and laden with crestfallen melodies. Without abandoning the raw sound of death metal Innumerable Forms has made some drastic changes in the songwriting. The composition has that bleak, doomy aura. ‘Lifeless Harvest’ is one of the songs that slowly oscillate into a slower version of doom metal. The embodiment of classic Paradise Lost is undeniable here. The drum work on the album adds so much depth to the music as there are some occasional blast beats and the tempo shifts are aplenty.

‘Bleeding Time’ is one of the shortest tracks, opening with guitar dirges soaked in bleakness as the slow building tempo takes you to a solemn march. Although the second album feels quite different from its predecessor ‘Punishment in Flesh’ Innumerable Forms has managed to write some dark death/doom riffs resulting in a concrete mixture of bold oppression. ‘Deified Tyrants’ is definitely one of the highlights of the album, although somewhat slow and dark, in which the drums take a slower pace. Despite the ephemeral melodies, the album sounds like it was recorded sometime in the early 90s.

Innumerable Forms explores deeper in the slower spectrum: you can simply discern the ultra-slow doom tone of the guitars. Albeit muddy and heavy, the production of the album is quite raw and audible. ‘Thrall’ is another mid-paced song with some beautiful doomy melodies. There are also some hints to funeral doom-styled sorrowful themes, particularly when the drums are slow, hence the dismal feel outshine.

The effect of death/doom on the new album is influential. Aside from this the bass guitar is quite prominent and the growling of Justin DeTore is very similar to his work on Dream Unending. The guitar department conjures up dismal imagery cloaked in grim shades. ‘Despotic Rule’ opens with a gloomy and desolate guitar section that would stir up some dark morbid imagination. The guitars capture the cold austere extremity that comes perfectly near the classic old-school death doom bands.

‘Philosophical Collapse’ avails new methods in creating such an atmosphere. As mentioned the songs on this album are ultra-slow. There are moments when the drums wield the hammer of doom. The inclusion of the sorrowful dirges is the core behind Innumerable Forms. The album’s closure ‘Sleeping in Light’ is full of somber and heart-moving melodies, with riffs being beautifully crafted and the vocals filling the song with a sense of despair.

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