Featuring a member of Gehenna, this is 48 minutes of blackened death metal that’s not for the weak of disposition or persons easily upset.
Listening to Temple of the Adversarial Fire is the aural equivalent of witnessing something you probably shouldn’t. The entire thing reeks of dark, baleful rituals that are probably better left unaired.
The music is steeped in the occult and wears its malevolent blackened influences with pride. These also leak outside of the main core of the songs themselves into dark ambient interludes and asides that increase the feeling of witnessing something sinister and otherworldly.
The album describes a harrowing soundscape strewn with the flayed souls of the lost and the damned. These nightmare scenes are set to the music of dark, blackened litanies and incantations, designed to invoke nameless horrors for the causing of unspeakable evil.
With a cold, merciless heart of pure death metal, the black metal influence warps and corrupts this into Shaarimoth’s final, terrible form. This takes the amorphous shape of a furious sentient darkness, bent on spreading misanthropy and misery wherever it treads.
There’s a cold, malignant intellect behind this particular beast though. It’s clear that Shaarimoth not only know what they’re doing with this dangerous and forbidden material, but that there’s a keenly thought out method to their apparent madness. This is particularly apparent on the final track Point of Egress, where things seem to reach their apotheosis. This track features properly clean vocals for the first time, the seeming purity of which stands out against the backdrop in which they are set. It’s also the most atmospheric track here, probably indicating the conclusion of this particular ritual, and that there’s now dark times ahead for everyone as a result.
Unsettling and unnerving. Listen to this if you dare.