CD REVIEW Hour Of Penance

 

Band: Hour Of Penance
Title: Sedition
Label: Prosthetic Records
Distribution: Prosthetic Records
Release date: March 27th 2012 (North America), April 2nd 2012 (UK), April 6th 2012 (Europe)
Review: CD

Hour Of Penance hail from Rome, Italy, and were formed at the very end of last century. After the demo Promo 2000, Hour Of Penance got signed to Xtreem, which did release the first two full lengths, Disturbance (2003) and Pageantry For Martyrs (2005). Both recordings showed a very mature band, easily comparable to the top of the North American scene. After a while, Hour Of Penance signed a new two-album contract, this time with Unique Leader, which did result in the recording and release of The Vile Conception (2008) and Paradogma (2010), both of them even stronger than the first two full albums.
In mean time, some important line-up changes took place. Mauro Mercurio, the last original member, quit for some reason(s) unknown, and Francesco Paoli left to concentrate on Fleshgod Apocalypse, another splendid act within the most extreme regions of Italy’s Death Metal scene.

Sedition was recorded by bass player Silvano ‘Nightorn’ Leone (also currently or formerly in e.g. Fearwell, Shadowsreign, Malfeitor, Kalki Avatara or Lord Vampyr), lead guitarist Giulio Moschini (think Eyeconoclast or Grimness), Paolo ‘Hell:IO:Kabbalus’ Pieri (vocals and guitars) (Kalki Avatara, Promaetheus Unbound, Aborym, Malfeitor, Vidharr etc.), and drummer Simone ‘Arconda’ Piras (known from Ancient Skin and Gôr Mörgûl).
The album lasts for 31:28 minutes and smoothly continues the quasi-perfected path once constructed within wild bunches of impenetrable walls of thorny and rusty barb wired nebulae. Sedition goes on in the vein of all former efforts (again: why changing a winning team), yet it did grow a lot again. It is a collection of whirlwind storms, pyroclastic outbursts and grinding blitzkrieg blasts, including a perfect equilibrium of technical skills and ‘melodic’ (!) constructions, flirting with inhuman spheres of Post-Black and Thrash-edged Industro-Death. And on top of it: it comes with a mostly skull-krushing sound, pulverising everything on its way without mercy.
For fans of the extremest Modern Death / Blast acts from, let’s say, Canada, Poland, the U.S. of Aaarghhh, Holland, Norway and Sweden (and the likes of Finland, Belgium, France, Australia, Denmark, Germany and Zimbabwe, of course), along with Italy, of course.

Note: one might mock the continuously forceful drive, an exaggerated dynamism, the non-stoppable brutality (listen to those permanently hammering drum patterns, for example), and I cannot but to admit it might bother / annoy / irritate after a while; yet that’s up to the (probably) not that innocent listener to make your final decision…

87/100

Ivan Tibos.