INFINITUM OBSCURE

Like the real estate mantra "Location! Location! Location!" when it comes to Latin American death metal (or black metal for that matter) it is all about "Atmosphere! Atmosphere! Atmosphere!" It is one of the (and has been on previous releases) identifying characteristics of "Sub Atris Caelis" from Tijuana's INFINITUM OBSCURE, the other primary characteristic being a savage, yet majestic, death metal offering to the ancient ones.

Stylistically, the immediate comparison that comes to mind is THE CHASM's Metal of Death. Though accurate in a general sense, the compositions of "Sub Atris Caelis" are more efficiently structured, meaning that 11-minute, twisting and turning, romps these are not, Roberto Lizarraga (lead vocals, bass, acoustic guitars, piano, and funeral orations) and Co. preferring a more succinct brand of sometimes thrashy, often blackened death metal. As one familiar with the style might expect, the self-described "auditory manifesto of the end of humanity and the transcendence of the inner flame" conjures, evokes, forges, summons, and conquers its way through a collection of tightly performed attacks and grim gallops with some degree of melodic sensibility (typically heard in the classy leads – e.g. "Messenger of Chaos, I"). Lizarraga's screamy growls add a measure of otherworldliness to the proceedings, as do the moments of chilling piano (the interlude "Adventus Mortis") and serene, yet gloomy, acoustic guitars ("Infinite Silence"). The Bill Metoyer (SLAYER, MORBID ANGEL, RIGOR MORTIS, etc.) production and Necromorbus Studio mastering gives the album a punchier sound that especially benefits the drumming of Ezequiel Mercado.

While not a mandatory release, "Sub Atris Caelis" is nonetheless a good example of the Latin American (and Mexico in particular) style that puts the "death" in death metal. It is indeed a compelling journey to the other side.