Vermingod - Promo 2011

Shortly enough, actually less than a year after having released the critically acclaimed, to say the least, first full – length, The Grand March to Devastation, the extreme metal act from Patras, Greece, releases 4 compositions, promoting their refreshed, re – defined sound.

The death metal pedestal is reinforced and fiercer, more intense than ever. Any Swedish death metal influences nipped in have been extinct; melody certainly matters, but VG perceives the term in a way less conventional form. The thing is, this piece is brutal, a massive breed of extremity, a provocative call in a sonorous, grandiose style. The songwriting width is notable: from the all flattening Distorting the Art of Murder, to the catchy, yet grasping Eldest Ghost, this is a promo structured on balance. The brutality fundament comes in pair with the constantly present, sneaky melody, with this spherical musical view resulting in an artistic completion; this stylistic duo’s collision ‘deforms’/ shapes the promo’s aesthetics - VG have certainly looser boundaries than the average Greek extreme metal outfit. Naturally, the composition which most aptly confirms the band’s songwriting grandeur is Pull of Insanity, a 6’ opus, during which inspiration spots its very peak, with the very construction serving the immediacy sought.

The musicality aside, the band’s sound has been taken to a whole new level. The mediocrity spotted sound wise, concerning the full – length, has been overturned, as the largeness in production has now been the effort’s mighty asset. It’s indeed, this solid sound that aids VG’s extremity to materialize, to be given flesh to. Technically, the adequacy is easily distinct: the drumming precision is prominent (Stathis), the groovy-esque alternations are necessary and somewhat of a musical trademark, the ideas executed, bright. The guitars’ sounding (George & Telis) is, as above accrues, large and the riffage, oh, the riffage stands bestial. The bass lines (Jimmy) are steadily distinguishable and their intelligence often pops up. The vocals (Aris, & Telis’ complementary performance) are now deeper, with different layers having been summoned – at times, the result is impressive (Eldest Ghost‘s refrain, Pull of Insanity‘s conclusion). Overall, any song should illustrate all those in the most integrant manner. 

Mr. Lovecraft has come to be an extreme metal favorite, and, conceptually, VG turned not a blind eye. Cthulu has been the darkest of fallen Gods, and as such, the most intriguing. What is truly interesting though is that the concept is an anthropocentric one. To be more specific, Cthulu’s advent and all may very well be imminent, the lyrical theme however focuses on man’s perception/ viewing/ struggling/ expectation. This is not about a Cthulian hymn – it is rather notable that the God’s very name rarely comes up.

Concluding, VG’s latest musical dictum is hell of a promising one, actually able to push them to Greece’s brutal death elite. This is a musical essay filled with professionalism in both songwriting and production. The brutality emitted, the disharmony established, the musicality implanted render this brutal death metal experiment kind of unique, in terms of immediacy too. The lyrically anthropocentric touch also bears its essence; a firm piece of act that only guarantees permanence, a permanence promised by its musical integrity.

9/10 Stelios (Ω)