With ‘In Deathlore 2017-2019’, Sepulchral Voice Records gathers the early material of Chile’s Deathwards, originally released in limited tape formats by Invictus Productions. Therefore, the first thing to clarify is that this should not be approached as a new album, but as a compilation of the band’s first recordings: ‘Towards Death’ from 2017 and ‘Rehearsal MMXIX’ from 2019. In total, these nine tracks offer a clear look at the early steps of a band that has always moved in that dangerous area where Thrash Metal starts to rot and turn into Death Metal.
Deathwards do not aim for modern Death Metal or an overly polished production. Their sound is firmly rooted in the late 80s, especially around 1987 and 1988, when the borders between Thrash, Death and Black Metal were still not fully defined. In that sense, names such as Infernäl Mäjesty, Incubus, Sindrome, Funeral Nation, Possessed, the darker side of Slayer and Sepultura around the ‘Schizophrenia’ era work as fairly clear coordinates. Not because Deathwards are a direct copy of those bands, but because they understand very well that historical moment when extreme Metal still sounded dangerous, dirty and in full mutation.
The first demo, ‘Towards Death’, contains five tracks of direct, fast and sharp Death/Thrash. What is interesting is that the band manages to sound savage without becoming unreadable. There is speed, violence and dirt, but also enough clarity to distinguish the riffs, the changes and the extreme Thrash foundation that supports the whole material. The guitars have that dry and poisonous edge typical of transitional Metal, while the drums push everything forward with an almost primitive urgency. The vocals fit this language perfectly: aggressive, rough and able to transmit the malignant feeling Deathwards need in order for the songs to sound not only fast, but also dark and convincing.
One of the most revealing details of this first block is the inclusion of an Infernäl Mäjesty cover. More than a simple homage, it works almost as a statement of intent. It helps to understand where Deathwards build their language from: cutting riffs, evil atmosphere, Thrash speed and a darkness already announcing something closer to primitive Death Metal. The influence is there, but the Chilean band manages to take it into its own territory, with a raw and direct energy.
The second demo, ‘Rehearsal MMXIX’, offers four tracks and presents a deeper, dirtier sound, closer to a rehearsal room environment. Curiously, this does not work against the material. On the contrary, it gives it a different kind of rawness, less controlled but very effective. Some rehearsal-like elements can be heard, such as imperfections and guitar noises, but they reinforce the underground character of the release. Even with this rougher sound, Deathwards maintain their strength and prove that their songs do not depend on a clean production in order to work. Here again, the vocals are one of the strong points, keeping character, presence and a phrasing that fits very well with the dark and violent melodies the band delivers.
It is also true that this compilation has a repetitive element, since some songs appear on both demos without major differences in arrangement or execution. However, in this context, that is not especially problematic. Since this is a collection of early material, that repetition has a certain documentary value, as it allows the listener to hear how the band sounded at different moments and under different recording conditions. This is not a release intended as a completely new work, but rather a way to organize and preserve an initial stage that had previously been mostly limited to tape format.
The strongest aspect of ‘In Deathlore 2017-2019’ is that Deathwards do not sound like a band trying to look retro in an artificial way. Many current bands take the language of the 80s as an aesthetic, but here the feeling is more natural. Deathwards understand the exact point where Thrash stops being only about speed and starts sounding darker, more violent and more deadly. The band captures that spirit without losing its identity, and that is what gives this material more value than a simple collection of old demos.
Of course, those looking for modern Death Metal, massive sound or overly polished structures will probably not find what they expect here. But for those who enjoy primitive, dark and aggressive Death/Thrash, this compilation works very well. There are riffs, attack, atmosphere and, above all, a real understanding of that moment when extreme Metal was still defining its own rules.
In the end, ‘In Deathlore 2017-2019’ is a necessary edition for those who want to approach the early years of Deathwards. It is not a new album, but it is a good display of the band’s potential and of its ability to work with an ancient language without sounding forced. After listening to this material, one gets the feeling that Deathwards should deliver a full-length album soon, because there is enough character, identity and strength to sustain something bigger. It would also be interesting to see how this material works on more stages, not only in Chile but also in South America and Europe, because their Death/Thrash has the personality and violence needed to connect with a wider underground audience.
