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THAUMATURGY
Pestilential Hymns

Memento Mori (2025)
Rating: 7.5/10

Gasping from the same infernal void as Asphyx, Pestilence and Obituary, ripping Kansas-based deathsters Thaumaturgy (the brainchild of a chap named KT) spits out a follow up to 2023 debut full-length, Tenebrous Oblations.

The comparisons with the aforementioned deathly titans emerge more so due to the dehydrated vocal barks which become more and more torturous with every frenzied rhythm. There are some truly cold and blustery moments to behold with this album as the torrid yet brief blasts of ‘Awaken Ares’ stir the senses. However, every song builds with such an enticing energy, beginning as brooding laps of foaming water to a hostile gnashing, particularly with ‘The Shadow Approaches’ with its digging bass line and foundation of hammering drums.

Opener ‘Neuroticism Triumphant’ sets the tone perfectly with its bone-snapping riff mashing and blackened edging. Pestilential Hymns is definitely a departure from the more cavernous sound of the debut. Instead, Thaumaturgy brings a dense yet gushing sound. The intricacy is to be admired, as is the experimentation with the lacing of atmospheric synths and dual vocals.

There’s certainly plenty to tuck into here, and a lot if it does have that old school U.S. death metal style mixed with a punchy Netherlands vibe of gasping creativity. Sure, at times the songs feel a touch fatty around the edges, but it comes across like a successful marrying of Morbid Angel and Pestilence which any death metal fan would snap up in a heartbeat.

Penultimate cut ‘An Ignominious End’ suggests there are no limits for the band. It’s a sprawling Gothic abyss which holds with such blackened grandeur before the final savagery of ‘Forced March’ leaps from beyond the threshold and tears the throat before unravelling as a cold sprawling landscape of chilly cosmic dabbling.

This return has certainly made an impression on me, and all I can do is recommend Thaumaturgy to the death metal fan who likes creativity within the cacophony.

Neil Arnold

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