Genre: Death Metal
Country: Sweden
Label: Pulverised Records
Year: 2017

You check the band’s press release and notice that Under The Church were in Fenriz’s famous blog Band of The Week. Of course something like that creates a certain positive feeling about the product to the occasional client and maybe even more positive feelings for the (occasional) reviewer, and that is why the label uses it. At the same time, any reference about the band member’s past that includes names like Nirvana 2002 and Merciless, is completely uninteresting. What’s going on guys? Ok, we get it, some times people just stop caring and just follow the flow but when did we become like that? I understand the respect we show to any genre we love but let’s not sacrifice everything on the altar of the presumed holliness and always right choices by Ferniz (or anyone of the same magnitude as Fenriz). Under The Church were formed in 2012, born from the ashes of Nirvana 2002 (great band), by Erik Qvick (drums) and Lars Henriksson (bass) and after a 3 year long of calmness, they released the criminally underated “Rabid Armageddon”, an album that was a sign of what would come to pass. Last February they also released a live recording, in cassette, named “Horrors From The Tomb” (only 50 copies were created by Caco-Deamon Records). The tape was followed on August by a split 7” titled “Beyond the Gates… Death Awaits” in collaboration with the german band Revel In Flesh, in which there was a cover of “Evil Invaders”, a song originally played by the canadian band Razor. In “Supernatural Punishment”, featuring a new singer, Erik Sahlström (who replaced Mik Annetts in this year’s releases) and a second guitarist, Erik Wallin (Merciless) thus becoming a quintet, we listen nothing less than raw, old school death metal. Their lyrics are inspired by horror films, the production is cold and creepy and their guitars seem to have only one purpose, to reap flesh. Their compositions are based on inspired by punk riffs, merciless banging of the drum set and really inspired solos that complete a concrete rythmic part. Easy to remember, probably future hits, are not missing (‘The Stygian Horror’, ‘Ancient Ritual’ ‘The Death Of Innocence’, ‘Wretched Disfigurement’, ‘Silence of the Shadows’ and ‘Staircase To Hell’) while, at the same time, the album has an atmosphere that steals the breath from the clueless listener and at the same time it features continuοus memory flares of feelings felt by the older amongst us while they listened to Grave, Dismember and early Entombed for the first time. It wouldn’t be an exaggeration to call it the album of the year for its respective genre or the beginning of band that, I hope, we will often listen to in the future. It goes without saying that fans of Entrails, Kaamos, Repugnant, Paganizer, Nirvana 2002 and of course fans of the bands we mentioned earlier should listen to them asap.