Rating: 10.0

Country: Germany

Genre: Death Metal

Record Label: Sepulchral Voice

Release Date: 2007

Track list:
1. Nekros Kristos (Temple IX.99)
2. Daemonomantic Fog Lay Upon The Tombs Of Succoth
3. Kischuf (Temple VIII)
4. Christ Was Not Of Goatborn Blood
5. Nam Ignis Est Umbra Locorum Infernorum (Temple VII)
6. Tormented Flesh On The Mount Of Crucifixion
7. Gate I: Das schwarze Wasser der Toten
8. Ora Pro Nobis (Temple VI)
9. Last Rite Of Christ
10. In Love With Ereskigal (Temple V)
11. Va Koram Do Rex Satan
12. Voragem Mortis (Temple IV)
13. Black Mass Desecration
14. Gate II: Offenbarungen der Mayrim 03:20
15. Damnation Worship (Temple III)
16. Impure Burials Prevail
17. Necromancing The Ghost (Temple II)
18. Deathless In Spiritual Evil
19. Conquering Tell Al-Mutesallim (Temple I)
20. Triune Impurity Rites - I. Skulldoom Of Sumer (Darkness)
21. Triune Impurity Rites - II. Nazarethical Ram Of Bethlehem (Damnation)
22. Triune Impurity Rites - III. Blasphemous Graves Open At The End Of Days (Death)
23. Gate III: Im Schatten des Zikkurath

Total playing time 59:55

Band Website: Necros Christos

Necros Christos - Triune Impurity Rites

Mors Dalos Ra - guitar/vocals/keys
Black Shepherd ov Doom - bass
Luciferus Christhammer - drums

Darkness – Damnation – Death: The heretical triune paradigm representative of the inversion of Christian dogma and the pious conception of redemption and salvation through Christ's death. This unholy trinity, a blasphemy of the highest order against the doctrine of the lambs of Christ, has been manifested and ensorcelled in the most menacing and sinister of forms; a Death Metal masterwork bearing the name Triune Impurity Rites. This trinity of utmost blasphemy, perversion, and wickedness can be rightfully characterized as the underlining essence conjured by Necros Christos, a spirit understood by few in these times of modern mediocrity.

Death Metal, by its very intrinsic nature, should exist as a channel for absolute darkness, utilizing music (one of the most ancient of spiritual mediums) as a means for expressing a deeper condition in the human soul to be invoked and brought forth from the occult realm of the unconscious to the material world in which we are incarcerated. This condition, that of strength and power, of individuality, a rejection of the contrived “truths” and false wisdom promised by the teachings of the Gospel, can solely be understood as the very rebellious spirit and lust for freedom and knowledge attributed to Satan. Indeed, Death Metal, in it's most virginal and uncorrupted form, is genuinely Satanic. Necros Christos should not be viewed merely as musicians creating a series of sounds and silences, but as dark magicians summoning powers beyond the limitations of the human flesh by means of esoteric power and wisdom.

Triune Impurity Rites (or The Grand 9 Cultmysteries of the Templum Necromantorum) is definitely an album of a spiritual nature, one stemming from inspiration beyond music alone, and therefore is not an album to be understood or appreciated by everyone. Modern day Metal ‘fans' who are incapable of comprehending Death Metal further than “This is brutal” or “This is heavy” will most likely dismiss this as an average at best interpretation of Incantation's Onward to Golgotha, a misconception so blatantly false that it will instantly negate the veneer they so audaciously call their “Metal fandom”.

In the most simplistic form, Necros Christos' music can be described as mid-paced Death Metal with a heavy Doom Metal influence and an occult atmosphere. Recall albums such as Inquisition – Into the Infernal Regions of the Ancient Cult, Samael – Blood Ritual, Beherit – Drawing Down the Moon, or even Von's infamous Satanic Blood demo. All of these masterpieces of the underground Metal realm, though sounding nothing alike music-wise, carried an atmosphere, a feeling that transcends the music alone and allows the listener to realize there is more going on than heavy guitar riffs and brutal vocals. Necros Christos create a similar atmosphere as the aforementioned bands, one that is uniquely their own and equally as powerful in terms of darkness and sheer enshrouded mystery. The guitar style Mors Dalos Ra is entirely unique, with a surprisingly melodic approach that I cannot draw any comparisons to. It simply must be heard to be conceived. Simple, yet bizarrely catchy melodies combined with Doom passages that revolve around simple, repetitive song structures create a very direct and effective approach which allows the listener to become hypnotized into an almost trance-like state of being. Harmonized guitar solos appear throughout the album, proving that Mors Dalos Ra understands that the guitar can be used as a voice within itself to paint a mental/emotional portrait beyond the limitations of words. The solos are very effective and exist to increase the morbid atmosphere of the music. The vocals (also done by Mors Dalos Ra) seem to come from a Netherworldly abyss, almost as a narration of a priest reciting passages from a cursed book. His vocal patterns follow the guitar riffs very precisely, making the songs surprisingly memorable for a Death Metal band of this nature. The lyrics are almost entirely decipherable, their words bringing forth emotions the listener might have never known existed inside of them prior to their experience listening to this album. Necros Christos creates music that sends the listener on a spiraling maelstrom of darkness and doom that clutches tightly around the soul like the Serpent slithering about the Tree of Knowledge, with intent on whispering the path to Enlightenment and Liberation from God's tyranny into the ignorant ears of Eve.

The album itself is a traditional ‘concept album' split into three parts: The Three Cultmysteries according to the Torments of the Damned, The Three Cultmysteries according to the Ceremonies of Goetia, and The Three Cultmysteries according to the Rites of Necro-Demonomancy. Between each song exists a ‘temple' track, consisting of synthesized effects and often times spoken evocations to ancient deities and Latin passages. The ‘temples' can be easily associated with ritual music. At the conclusion of each of the three ‘Cultmysteries' is a “Gate”, all three of which consist of classical guitar pieces with a Middle-Eastern influence (which is definitely intentional, considering this area of the world is where the roots of not only theology but also the occult lie). Necros Christos also utilize other instruments not typically associated with Death Metal music, for example, their use of the church organ in the song Christ Was Not of Goatborn Blood. However strange this might sound, it works perfectly, and enhances the effect of the song.

My favorite section of the album is the last of the Cultmysteries, the tracks from the Damnation Worship ‘temple' to the final third ‘gate'. These tracks are “The Three Cultmysteries According to the Rites of Necro-Demonomancy” and also include the three-song trilogy Triune Impurity Rites: "Skulldoom of Sumer (Darkness)", "Nazarethical Ram of Bethlehem (Damnation)", and "Blasphemous Graves Open at the End of Days (Death)”. While every aspect of this album is amazing and no filler exists, I believe these final songs are the quintessential testimonies of Necros Christos. Songs like "Impure Burials Prevail" invoke the visions of apocalypse and exhaltation of total darkness, the eradication of the Christian era into a new aeon bereft of the lies of Christ. The lyrics, while simple in nature, create the most macabre aura surrounding the songs. Foul black milk of Magdalene / Which once fed the Nazarene / Had its path untrodden / In a temple in Sodom . The song "Deathless in Spiritual Evil" displays that unique melody exclusive to Necros Christos, as well as their Doom passages with the most ominous sense of the majesty of darkness. By the time this final chapter in the book of Necros Christos is closed, you will feel as if you just traveled a long journey through realms forgotten and buried in the mysteries of the occult.

Necros Christos is a proclamation that true Death Metal still exists, and within the extremity of it's nature lies paths not yet explored, which are just now being tread upon in the same bold and ancient tradition of the late 80's and early 90's masters of the old days. Necros Christos is not a joke, this music is as serious as music can possibly come, it has no concern with acquiring monetary or social success nor is it created just as ‘music' alone. It simply exists to express energies and emotions that are greater than ourselves, to transport us beyond the limitations and weakness of our human flesh. Satan, in all of his infernal glory, is praised in every aspect within this music from the blatant to the metaphorical and conceptual. For being one of the best Metal acts to emerge within the last decade, and to truly capture the majesty of Darkness, Damnation, and DEATH Metal, I bestow upon the temple of Necros Christos a perfect 10/10 rating, an account of admiration and respect that is nearly impossible to equal these days.

Begotten son unbless thy flock
Leading herd into the fog
Proclaim thee on the feast of doom
Expecting thy salvation soon
VA KORAM DO REX SATAN

January 21st, 2009