The band’s lineup includes the founding members Vlad (vocals, guitars), W. Cadaver (lead guitars), R. Cadaver (bass), and N. Destroyer (drums). The eight new songs vary in distinction despite the influence of Swedish and French bands such as Necrophobic, Nifelheim, and Massacra. The song brims with furious blast beats and tremolo-picked riffs however, the guitars give the song an infernal scorching feel and abrasively hits in its attacks. The drumming is mainly played fast. Though I would say that the opening track “Ksar Al-Kufar” blazes Lucifer’s primordial fires, the drumming, and the tight riffing are altered by interchanging melodies.

When the strings are utilized Necrowretch captures the cold Swedish style of black metal, the venomous screeches sound like an unholy demon cast out of hell. The drums are relentless, and the vocals are blasphemously wicked. There are plenty of tremolo-picked riffs infused in the song structure that give the album the old-school quality, while comparing the singing style of Vlad to the previous albums his performance here is yet the best.

Tracks like “The Fifth Door” sound viciously evil full of scathing riffs, the song is bolstered by fast-paced tempos that allow for a dark and evil atmosphere to funnel between the boisterous mix. “The Swords of Dajjal” is undoubtedly the best outing by these French blasphemers, the fierceness and the sadistic quality of the songwriting are incredibly catchy. The subtle Middle-Eastern elements add another quality to the composition and this somehow allows the guitars to shift into different tempos. There’s a talent in the guitar riffs that is very old-school, and the changes that are brought by Vlad and W. Cadaver are brilliant.

“Dii Mauri” is more of a mid-tempo song and in terms of songwriting, the tremolos are utilized in the fast tempos to imbue some evil rawness to the music. When it comes to the composition “Swords of Dajjal” has two effecting elements: the vicious tone of Vlad’s vocals and the abrasive tone of the guitars, the drumming is played fast at blistering speed there is also a good balance between the blasting sections, and the variation in tempos overall.

The album’s title track “Swords of Dajjal” shimmers like black shining leather. On this track, Necrowretch tackles the evil rawness of the second wave of black metal, the blast beats are aplenty and is accompanied by a fat tone of the bass guitar. Sinisterly unsettling and loud as the roaring fires of hell, Necrowretch‘s new album erupts in loud thundering bellows, the melodies in the song structure also add a great effect.

“Numidian Knowledge” drags you even further into the depths of the hell. The guitar arrangement on this track has a thick blackened riff tone, and they are inserted in the slower tempos, resulting in an evil twisted old-school black metal sound. The use of acoustic guitars and tribal percussion is probably what characterizes Necrowretch on its newest offering.

“Vae Victis” features some hyper-speed drumming and blazing riffs, taking a fast transition between the explosive riffs and the fantastic alteration of the drummer N. Destroyer. The guitar melodies can be comparable to Swedish black metal bands such as Dissection, the scathing melodies are driven by mid-pacing drums, and they perfectly intermix when the double bass kicks in and continues to repeat.

The demonic shrieks assault the ears on the album’s final track, “Total Obliteration”, which tackles the traditional 90s black metal. Necrowretch clearly emphasizes the riffing patterns the blazing melodies of rhythm guitars, and the acoustic strings showcased at such a level of expertise.

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