Filii Nigrantium Infernalium – Pérfida Contracção do Aço

…and here we are again to dismember an assault from the Portuguese cult. The mix of styles in metal has always remained the essence of Filii Nigrantium Infernalium to create its sound. Another important detail, like the sigil burned into their skin, is that they have always sung in their mother tongue. So, you have to sharpen your ear to understand some of the blasphemous mockery to which they have accustomed us. Since their acclaimed gem back in 2005, ‘Fellatrix Discordia Pantokrator’, Heavy Metal has always been present, gangrening every strand of what was created. Now, the discussion will always be what style the band belongs to, since it is preponderant to catalog everything in metal. If you ask me, for me it is Black Heavy Metal. ‘Pérfida Contracção do Aço’ came out last year, so we’ve already had time to get our hands dirty with the insane vomiting and regurgitation of this work, which features vocal collaborations by Vulturius, known for his work on Morte Incandescente, Irae, and Decayed.

The demonic opening ‘Beata Fornicanda’ (uff, what a beautiful title!) is blasphemy shot straight to the lambs’ foreheads, empowerment of blast beats with relentless riffing. The howls of the past remain with all their load of dementia, but I think Belathauzer has now selected better where to phrase, making the songs more rhythmic and less chaotic. In ‘Cristo.Rei.Animal’, this better selection of sung verses between melodic solos and a good panning of the accompanying rhythm is noticeable.

The choir hammers the bastard a thousand times on the cross, one of my favorite songs without a doubt. The title track is positioned right in the middle, and I think strategically, as it splits the opus in two. This damn track bares its teeth with thrashy riffs, fast melodic solos, some progressive hints, blast beasts, D-beat with cuts, and hints of more musical insanity. In ‘Comes Carne’, they’ll blow your mind: a string intro from some lost orchestra, and the unleashed rhythm is more characteristic of Doom until the madman behind the screams announces the total change. The solos are fast with squalls on the guitar that neigh frenetically. The more Heavy Metal-oriented vocals can be found at first sight in ‘Má Criação’, obviously not forgetting the screams of the madman. The album is filled with resources and elements that enrich, or if you prefer, ROT the music, but it’s all masterfully executed. The madness is well-tracked into a twisted sanity. In ‘Vaticanale’, Celtic Frost’s dark-tinged riffs ride the merciless carousel, giving it an oppressive aura for the nine long minutes of torture that mark this song, where the vocals remind me of Devin Townsend as the epilogue dies. ‘Chuva Dourada’ performed the closing track, and in my opinion, they got it right, as it’s another one of those good songs that fades in seamlessly, splashing everywhere in its path.

By the way, the song’s title is ‘Golden Rain’, and at the end, you can hear the utter pee of one of these maniacs who escaped from the asylum and is beating up some nun in a lost convent in Lisbon.