Muertissima is a death metal band from France. Formed in 2017, the Paris-based group released its debut album Inquisition in 2021. This year, the band returns with a new album entitled Prophecy, set to be released on February 13 via the German label Fetzner Death Records in digital format, CD digipak, and limited-edition cassette.
The new album Prophecy consists of ten tracks with a total running time of 50:10. On this release, I hear a form of death metal at the crossroads of a modern style, characterized by frequent tempo changes. The album feels nuanced throughout, with a strong presence of melodies and atmospheres that reinforce its dark edge. Vocally, I notice a range between growls, high-pitched screams, and often more bestial vocals. I also feel that the musicians flirt with elements close to black metal, as at several moments I had the impression of listening to a blackened death metal album. As for the production, I find it solid and well-balanced, with no major flaws worth mentioning.
Among the moments and passages that particularly caught my attention, I can mention the vocal performance starting at 1:47 on the track Kings of Maleficience. On I Sleep with Demons, I appreciated the forward momentum of the rhythm as well as the composition beginning at 1:24, where background melodies emerge. I also found the drumming on this track powerful, a performance that is unlikely to leave anyone indifferent. Rich Bitch opens with a fast tempo driven by an intense drum performance; at 2:32, I consider the vocal delivery to be one of the most energetic moments on the album, followed by a well-executed solo at 2:54. Echoes of Attenborough stands out to me as a narrative track, supported by gentle yet threatening background melodies, particularly the piano. V.I.L Is for Vile Hate launches straight into frenzy, and I find the vocals more bestial than ever on this track; from 2:22, a solo with a dark aura dominates the soundscape for a few seconds, clearly rooted in black metal aesthetics, and at 5:15, a powerful scream reinforces the evil atmosphere of the song.
Hate Eternal, much like its predecessor, maintains what I perceive as a consistently evil aura, especially noticeable from 1:16 onward. The following track, The Rain, presents a heavier and slower atmosphere, evolving into an even darker composition; what stood out most to me is the vocal performance starting at 1:28, which I consider the best on the album. Locura does not waste time on introductions and dives straight into frenzy, maintaining an unrelenting pace until the final second; I note that from 3:26, the vocals unleash a prolonged scream lasting several seconds. From Undead to Oblivion explores atmospheric and melodic horizons during its first two minutes before evolving into an intense outburst of instruments and vocals, which I find makes it one of the album’s most powerful tracks. Finally, the closing track Pachacamac, the longest on the album, offers what I experience as an acoustic sonic journey featuring female vocals and clean singing.
The album is on Fetzner Death Records - Website or on the Bandcamp below