Cascading from the choir sounds that attract more of a demonic spell rather than uplifting news comes within moments of the first appearance. As Medieval Necromancy begins, “Chthonic Curses” is suddenly overbearing with sound. The first moments are graceful and focused on the instrumentation that builds through tension before attacking through fury and might. Nothing is concrete however as the tone changes back to a slower, less rushed approach with cymbal rolls off the dome and darkened shouts with crunches and pushes toward a steeper end.
These sounds continue as waves within an ocean of hurt. Track lengths that average around the five-minute mark are common from MEDIEVAL DEMON and even in black metal. Often tracks reach into the nine-minutes and beyond with long-winded segments of atmospheric synth work layered in-between to break the action. Medieval Necromancy takes a similar path but on lower time standards. The work is still proficient in creating despair within a track, or collection of tracks. There is however, the desperate need to assimilate a sense of clear transitional periods which is orchestrated almost flawlessly here.
The vocals may not be the strongest point, but the music and performances of MEDIEVAL DEMON make this go almost unnoticed throughout. The band is incredibly tight in their play styles and sculpting of the instrumentation. When the album is pushing towards this inevitable end, it is doing so as a full-speed ahead bullet-train that works with more power than slack. It was apparent that the underlying factor of misery would not transfer over into the stage of the act.
As the last moments and organs take MEDIEVAL DEMON out on the stretcher, cloth rested over their face. The creation is a Frankenstein monster of interesting segues with fantastic displays of musical Paganism. The candles burn, and the ritual seems to close out a final chapter on the daunting and never-ending march toward Satan.