Review: “Absolute Dismal Domain” by Relics of Humanity

“Absolute Dismal Domain is a nine-act conceptual record. The story told across these nine tracks is about absolute ubiquitous annihilation of light, both spiritually (god) and physically (sun and stars). This is the most brutal stuff about blackness and ungodliness ever created.” ~ Relics of Humanity

Five long years after their last confession in Ungodliness, Cataclysms and Anti-religious rhetoric provided us with something with which to question our sphere of reality, Relics of Humanity return with their third studio offering “Absolute Dismal Domain”. A completely DIY affair with guitarist Sergey “Siarhei” Liakh as the mastermind, having composed the music and written the lyrics as well as mixing and mastering before creating the artwork with oil paints it represents a dark new dawn for the Minsk Brutal Death Metal quartet. That is simply because with time comes change and since their well received EP “Obscuration” landed in our greasy paws, vocalist A.J. Magaña and drummer Pavel Vilchitsky have both exited stage left. In their place Siarhei has recruited Vladislav Vorozhtsov (Dispersed, Paroxysm Unit) to grace the stool with Florent “Flo Butcher” Pruvost (Arseis, Balance of Terror, Tortured) tasked with the microphone…

A raw and yet foreboding moment of groove laden Death Metal introduces those new musicians to the fold as introduction piece “Omen Apollyon” flashes before our ears. It’s the metaphorical equivalent of the light reflecting off the psycho killers blade before it reaches its intended victim and with a single bloodcurdling roar from new vocalist Pruvost it sets a menacing tone. Opening cut proper “Summoning Of Those Who Absorbed” makes the introduction piece seem playful as it drags the lake in search of the victim with brutal, throat shredding vocals from Pruvost front and centre. Bursts of blast beats and crushing riffs make way for an ominous almost ambient soundscape that feels like it was ripped from a classic 1980’s Science Fiction Horror movie. The eerie, haunting quality of that is replaced by a downtempo bludgeoning finale of the highest order which confirms the band still have what it takes to deliver the goods.

An almost Sludge Death downtempo first minute or so to “Taking The Shape Of Infinity” is tastefully done, the Southern Metal vibes undeniable and surprisingly good fun. Pruvost isn’t one to be pushed to one side however and on this one his vocals are arguably the single heaviest element before the sinister sounding conclusion. A brutal roar opens up the arteries for “In The Name Of Ubiquitous Gloom“, a vicious cut that sees Pruvost’s throat becoming less of an instrument and more of an implement… of destruction. Rumbling bass from Pavel Lapkovskiy is allowed to bleed through the guitars at various points which is wonderful to hear, as are fleeting moments of greater technicality in the guitars. The band maybe a bulldozer but they’re got the style and grace of the sports version, enhancing their base material with some whiplash worthy additions throughout.

Splitting the album clean in half like a hatchet through the skull, the sequel to the bands 2014 classic from album “Ominously Reigning upon the Intangible” is simply titled “Paralyzing The Light II“. Anvil heavy it continues the reign of terror in fire and brimstone on the cerebral cortex with verve and swagger. Influences from the 1990’s Florida Death Metal scene are as obvious as the day is long and while there is a certain air of nostalgia to this one in particular it more than holds its own. An almost ethnic riff with hypnotic trance inducing qualities makes for a sinister and menacing title track that keeps you on your toes, senses heightened awaiting a moment of blunt force trauma. The brilliance of “Absolute Dismal Domain” however is that it doesn’t happen, the band instead manging to hold that captivating feeling until the fade with their caustic abrasions as a masterclass in Death Metal atmospherics. Far from barbaric and bare bones, this album is one that finds the musicians play with texture, tempo and dynamics. Where others inject orchestration, synths or solos, this quartet push dark soundscapes the likes of which you may have never heard before.

Chugging and roaring like an impaled beast from the black depths “Smoldering Of Seraphim” comes to life with a sharper edge before descending into downtempo madness, hints of a solo so fleeting that you may swear you imagined them. Instead the pulsating rhythmic devastation is maintained, pummelling the discerning listener into submission like Twitch Of The Death Nerve on steroids. The malicious intent within “His Creation That No Longer Exists” is hard to ignore, the bands restless and relentless dirge laden grooves ensuring that Vorozhtsov is tested to his limits and given a full work out. His performance on the kit on this one in particular feels like an artillery shelling as it accompanies the next level guttural brutality of the vocals. There is actually something of a solo from Siarhei however it takes place in the fade out; it would be wonderful to here the full extended version without the fade if he still has it. Impending doom never sounded as good as it does with “Dominion“, the death march of the drums and understated guitars creating the oppressive atmosphere of a star imploding [8/10]

Track Listing

“Absolute Dismal Domain” by Relics of Humanity is out 31st January 2025 via Willowtip Records and is available over at bandcamp.