Genre: Black / Thrash Metal
Country: Italy
Label: Black Side Records
Year: 2013

After being active for seven years, on December 7th 2013 the Italian black/thrashers Evil Spell released their second full length album, called “Necrology”. The record was released via Black Side Records on CD format.

Generally speaking, “Necrology” is a blackened speed / thrash metal record in the vein of Celtic Frost, Slayer and Sodom, with a tiny touch of rock’n’roll. It consists of 12 tracks with a total runtime of 54 minutes filled with unholy, satanic, violent lyrics. The personnel of the group is Igor on drums and backing vocals, Filo on vocals, guitars and bass and finally Paul on guitars, bass and backing vocals. As you can see, it’s all about teamwork. As far as the tracks are concerned, we have to deal with raw sounds, heavy and fast riffing and blasting drumming. The album kicks off with an intro of two minutes of full galloping instrumental thrash that perfectly leads us to “Sluts of Satan”. “Satanic Underground”, “Necropunk” and “No Mercy” follow up, with merciless blast – beating and evil, black metal riffs. The heavy patterns remain the same throughout the record and I dare to say that some moments brought Slayer in mind. Agonizing screams of torture and full speed on guitars blend together, offering us “Satan (Madness pt. II) and “Satan behind the Cross”. Moving towards the end of the record, we stumble upon a great track with a melancholic melodic opening, called “Fra”, which is actually a tribute to their fallen brother, who passed away in 2010. Definitely one of the peaks of the album.

Putting everything in a nutshell, I have to say two things, a pro and a con, and you can’t stop me no matter what, muahaha. Well, on the plus side, is amazing the fact that on some tracks of the record you cannot actually realize when a track stops and when the next one begins. For instance, pay attention on the transition made between “No Mercy” and “Heavy Metal Riders”. That smooth, almost untraceable jump from one to another, sounds amazing to me. On the other side of the coin though, I truly think that the way the record was mixed and mastered deprives the album from emerging, as far as drums are concerned. There are moments when you cannot understand what Igor is playing. Should the drums’ volumes were a little bit boosted, then the whole album would have killed everything.

Now, I should shut my piehole and let you do your thing.