Spawned in hell the 7 songs conjure dark energy from the otherworldly dimensions that give the album a demonic quality, which can be described as fast, devilish, and brutal at the same time. The opening song “Lamia Sucuba” begins with an ominous synth intro and spoken words. Churning out hellish riffs with a skillful grip on the harmonizing melodies that work well together. Something is menacing about the ghoulish growls, and the low growling is in tandem with the exotic keyboard setting. The drumming is ferocious and injects venomous malice into the multiplying dread, which also reflects the appalling cover art of the album.

There are plenty of movie samples scattered around the album’s duration that make your soul sink in the utter darkness, the unceasing fright continues in the following song “Cuatro Velas de Cebo Infantil” which spews unholy incantations and demonic spells. The harmonizing melodies and the riffing create an ominous theme, delivering a mixture of avant-garde black and progressive death metal. The Chilean act funnels a palpable atmosphere of horror as the drumming blasts from the esoteric melodies. The riffs are gnarly, but Unaussprechlichen Kulten offers some slower passages before the dynamics are propelled into a brutal force. A certain degree of barbarism in the drumming and the growling style creates something exciting.

The guitars take the lead and build up a sense of morbid dread, with muted riffs that are in tandem with the propelling drums. The album has a warm production and a bizarre effect fills the music with something evil. The display of a South American style of death metal evokes memories of bands like Mortem and The Chasm. For example “Our Almighty Chthonic Lords” is a hybrid fusion of atmosphere and primordial riffing, the rhythm section is flawless and provides some infectious moments. “Häxan Sabaoth” unfurls hellish pandemonium of thick, horrible riffs.

Some strings and keyboard sections are utilized simultaneously with the harmonious melodies, although this is the kind of album that shows exactly what the Chilean act is capable of in establishing unease, dread, and aggression. As other songs follow along in the same direction you may anticipate some sophisticated and artistic qualities in songs like “Hexennippel”. However, there seem to be plenty of original ideas that are utilized in the songs, but the composition still has the malicious and primitive style of Unaussprechlichen Kulten.

The album delivers a rather refined sound of the band and still carries the roots of the Latin American style, in a way the songs are mid-paced death metal with some atmospheric parts and melodies and sudden fast tempos. In contrast with the previous album “Teufelsbücher” which in my opinion was brutally attuned, “Häxan Sabaoth” moves towards post-brutal death metal. Another unique song in the album is “Dho Hna Formula” which combines plenty of tremolo death metal riffs and blast beats to convey ancient barbaric hostility. The guitars are also well crafted with melody leads that focus on the level of accuracy, especially when the solos are played creating a grand pandemonium of evil.

The psychedelic intro of “Back to the Mother Hydra and Father Dagon” is where Unaussprechlichen Kulten shows its grandiosity meets the primitive brutality, the slow riffing spearing with lead guitars. The concentration upon the Lovecraftian themes fulminates as an ancient ritual requiem, but when it comes to dynamics the drums ensure a savage brutality.

The closing track “Die Teufelsbücher” probes into the demonic themes uniquely in utilizing the church organ and the instrumentation that shows how the band employs the lead guitars, keyboards, and muffling drums. Undoubtedly the level of sophistication has increased since the previous album, the guitars, and the drums on the newest album are layered professionally without being so technically distinct.

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