Tetragrammacide conveys one hell of a performance by leaning heavily on dissonant death metal and infernal riffing, the brutality of sound throughout this album reverberates an impenetrable wall of bestial death/black metal riffs. After the short intro “(Trans-Linguistic Utterance of a Sacred Orgasmal Cry Fills the Lemurian Sky (By the Same Mouth, One True God Crieth Hriliu)”, the unstoppable immensity of the blaspheming growling and extreme impact of the blast beats in the song “Spectral Hyaenas of Amenta Howl, the Vulture of Ma’at Descends, and Tahuti Watches Without His Ape” spits venomous fire at the frenzy growling and the fiery tempo is propelled by brutal drumming. Injecting incredible speed and inhuman energy to pummel you with their insane brute force, the double bass kicks are constantly thundering throughout the album.

“Mandelbrot Scarab of Fractal Manifestation Trapped in the Arachnid Webs, Spun Above the Hidden Pathways into Non-Euclidean Interbetweenness” begins with extremely fast drumming engaging at the sheer intensity and the technical ability of the drums is at the purest form. Despite sounding overly brutal the quality of the drumming is brought to precision, Tetragrammacide may not show much variety but the duo channels the cacophony and dissonance style of death metal. The riffing is insane and never ceases to impress me with its incredible technicality and precision.

“Fundamental Reconciliation Between Maya and Yama Through Perpetual Okbish-Ouroboric Cunnilingus” inclines towards a more furious tempo, the vicious growling uttered like a giant demon to unleash full malice on the world. The multiverse of evil and chaos is incarnated with concentrated blast beats and fiery guitar barrages, as the drums wreak havoc the production also sounds great and vivid as the chaotic blasting breaches your eardrums.

Having a great ability to play at furious speed the percussive patterns make the song intense and there is some nasty growling, the guitars create a raw atmosphere full of churning death metal barrages. The apocalyptic feel of the song “Nuit Arches over the Neither-Neither City of Cubes; Hadit Meditates While Hanging Upside Down Inside a Tesseract-Ka’aba” reveals the complex drumming and the blasting sections that are driven by a demonic combination of bestial growls and the bizarre atmosphere that manifests later as the drums slow down and the uncanny sounds that looms over like an electric ambient noise. Later on, the drumming ferocity presents a brutal interpretation of Tetragrammacide sonic methods. The catchiness of the effective aural snarls has a fiendish splendidness, the riffs are chaotic and all over the place.

The bizarre electronic samples are cunningly mixed with ritual industrial ambient soundscapes on “Kalikshetra-Kairo Consciousness Revival (Alogical Exegesis of the Sandhipada-Sarisreepa Continuum Vigyaan)” show the unique take on extreme metal, despite the brutal approach of the machine gun drumming, the atmospheric effects are uniquely arranged. The clarity of each element from the whirring tremolos, heavy thick bass lines, and the feral growling add to the album’s sound quality. The visceral tone of the chunky chords constructs many tempo changes, as well as the nuances of barbaric war metal elements that are conjured by the sheer vision of the duo.

“Thanatos and Eros Wrestle Forever, Folding and Unfolding from the Substratum of Supreme Voidness of S’lba” is a monstrous exercise in which the guitar offers insane tremolos sections, where the drums morph into a seismic force of crushing double kicks through a subtle layer of the rhythm guitar creeping out from the cacophony of chaotic blackened death metal brutality.

The mixing of the elements of the tremolos with the heavy bass guitar adds sheer audibility to the composition is another great example in which the band unleashes pure annihilation in the track “Intoxicated Bees of Sekhet-Aarhu Circumambulate the Abode of Self Beheaded One Who Forever Danceth in Her Shaktisexual Ecstasy”. It is displayed by the fabulous drum work, the growling on the album is demonic as the entirety of the album is devoid of modern bullshit and clichés.

“One Who Weaves the Chthonic Garland of 52 Skullphabets Severed by the Sword of Neti-Neti” bludgeons the listener with the unstoppable fury of blast beats and churning, brutal riffs that are inspired by bands like Nile and Morbid Angel. The shifting of the rhythm guitar gives the song a whole dimension, but it also bears a mark on the band’s performance and incredible songwriting ability to push the boundaries. There are plenty of roots to death metal found in the band’s second full-length album, unrelentingly heavy and full of churning riffs, and magnificent solos that contrast with the machine gun drumming to provide catchy hooks.

Tetragrammacide has inspired the fans of the genre with their newest endeavor, with the final two tracks “Golden Ontological Embroideries of Pythagorean Meta-Geometries Sewn on the Blue Veil Surface of Nought” and “Fifteen Streams of Lunar Kalas Secrete from the Quaking Yoni of the Goddess Sixteen (Tantric Alchemy of the Cascading Nectars of Sodashi)” launch variety of ripping tremolos, crushing double bass, oppressive blast beats packed into a destructive and straightforward infernal blast from start to finish!

The drums morph into a swaggering performance with its stomping thundering beats, and dreadful rhythm guitars forming an impenetrable wall of sound beneath the churning riffs and the subtle atmosphere that is sprawled on the backdrop of the music. While the latter track ends with short ambient music resulting in an uncanny sonic electric experience and ending this nightmarish brutal orgy.

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