Today we are handed the keystone in presentation of unholy writhing gateway, ‘Hypnotic Blood Art‘, the third full-length album from Columbus, Ohio-based blackened death metal duo PROSANCTUS INFERI. Hailed and heralded for decades as outside-the-box thinkers in creation of their own classics inspired riff-heavy style, guitarist/vocalist and chief songwriter Jake Kohn‘s approach remains steady-fastened in the realms of blasphemic Midwest/East Coast 90’s death metal and its crossover with mortuary lurking black metal of the same era. See auld spiritus of Order From Chaos, Profanatica, Demoncy, and Necrovore inhaled and given a brazen howl beyond! — If the seven year wait and the teaser of their ‘Pulpit Sycophants‘ demo tape from 2019 hasn’t given you enough reason to foam with anticipation consider the legs PROSANCTUS INFERI‘s previous album, ‘Noctambulous Jaws Within Sempiternal Night‘, bears even today. In terms of my own collection it is a gem that spews from the shelf, begging to be cracked open and gawked at for its audio-visual blood feast. If you are in a similar vortex ‘Hypnotic Blood Art’ will likewise enrich as it surpasses its fiery predecessor with an album possessed by purpose, a poltergeist consciousness no longer frayed at the edges but still acting with the decisive artistic swipes of a wide eyed neck-ripping killer in the night.
Now if you’re a vinyl hound or collect tapes you’ve been able to grab ‘Hypnotic Blood Art’ since mid-July in physical form so, if you’re late to the party in that regard hurry toward the first pressing as it appears to be going fast. Otherwise if this is your first go at it pay close attention to the reap and signature riffs of “Sheol Below”, one of many songs themed by archaic visions of the underworld. Compare the demo version of “Bellicose Spiritual Violence” with its final form and clean (but not too clean) render from Resonance Sound Studio. And finally do not miss the rotten death metal tarantella of “Geist Enthralled” before you collapse in defeat.
Thanks goes to Nuclear War Now! Productions, the band, and their representatives for the opportunity to present an early glance at the full experience which officially arrives on all formats this Friday August 14th via Bandcamp, the Nuclear War Now! Productions store, and if you’re in Europe Iron Bonehead is a good place to start along with FOAD/Scarey Store (who have just stocked it this morning), and Canadians can typically hit up Juno (among others) for most NWN! releases.
Per the press release:
For 15 years, Ohio’s Prosanctus Inferi has unassumingly amassed an impressive catalog of deviant black/death metal. Their sound is distinctive and warped, as are the accompanying conceptual explorations and aesthetic visions. On Prosanctus Inferi’s third full-length, Hypnotic Blood Art, the band has further refined its approach, painstakingly sculpting the songs, chiseling details and carving away superfluous material.
In the early days, Prosanctus Inferi was a duo consisting of guitarist/vocalist Jake Kohn and drummer Steve Mercer, who was later replaced by Antichristus until his death in 2010. Since then, Kohn has remained the only consistent member. For the last full-length, 2013’s Noctambulous Jaws Within Sempiternal Night, Prosanctus Inferi operated as a three-piece, but this new album finds them active once more as a duo, with Kohn accompanied by drummer Jeremy Spears, who has been in the band since 2010.
With each release, Prosanctus Inferi has tightened and focused its sound, perfecting its pummeling power. On Hypnotic Blood Art, Kohn sheds some of the technicality and velocity of his prior performances in favor of a heavier sound, reflecting, in many ways, a return to the band’s foundations. The instrumentation on Hypnotic Blood Art is tightly coiled, anxious. The riffs are taut and lean, their potential fully realized through the kinetic force of the percussion. As with all of Prosanctus Inferi’s recordings, eccentric flourishes abound throughout Hypnotic Blood Art, adding dimension and distinction to the work.
Lyrically and conceptually, Kohn also harkens back to the band’s earlier days, with a focus on medieval and renaissance conceptions of Hell and damnation—topics that figured prominently on the demo recordings. This album is, therefore, the culmination of the band’s work thus far, the fulfillment of its potential, and, yet, still offers stylistic innovation and development for one of the most intriguing and dynamic American bands of the last two decades.
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