Imago Mortis — Carnicon

Though Imago Mortis have existed in one form or another since 1994, they haven’t made much of a splash outside of their home country (if Metal Archives are to be believed) . Despite their lack of international recognition, these Italians have been quietly polluting the underground with a steady stream of material over the course of their twenty year career, managing to catch the eye of Drakkar Productions in the process. 2014 saw the release of their third full-length, titled Carnicon, which was released on CD and limited to 1000 copies.

The first thing that struck me about Carnicon was how tactfully the band managed to follow in the footsteps of Norway’s greats without coming off as a rip-off by adding their own occult flair. After the ritualistic intro to “Per Chi Ga Renegà la Fede” the song launches into a repetitive segment of black metal riffing that brings to mind Mayhem’s De Mysteriis Dom Sathanas. Parts of “Lümere” and “Hodie Mihi Cras Tibi” are cut from the same cloth, with riffs sounding like they came straight out of 1993. But like I said, Imago Mortis isn’t all about retreading the same old paths. The album also has an occult devil worshiping aura found in more modern French or Swedish bands. Most tracks feature at least one slowed down section like this, characterized by booming, ritualistic drum beats and founding vocalist Abibial’s rabid chanting and invocations in both Italian and Latin. Other sections recall Sweden’s more melodic side like on “Per Chi Ga Renegà la Fede” or “Il Canto del Negromante”. Imago Mortis does a fine job forming these diverse ideas into one coherent, blasphemous blade while still keeping the elements separate.

Another thing separating Carnicon from the legions of bands emulating their northern brothers in darkness is that the band isn’t afraid to slow things down from a break-neck pace. While drummer Axor is perfectly capable of pulling off a punishing blast beat, the preferred pace is either an indomitable march or an esoteric beat. Similarly, a good amount of the guitar work isn’t blazing fast tremolos, but rather toned down and devoted to aiding the occult atmosphere created by the demented muttering, howling, and rasping.

On the technical side of things, this album displays the instrumental prowess you’d expect from veterans like these. The drumming, guitars, and vocals are all tight without feeling mechanical and lifeless, and the songwriting is solid. Though the songs average eight minutes in length, they feel much shorter due to plenty of variation in pace and style. I would have preferred if the band had gone to greater lengths to combine melodicism, old school black metal, and dark occultism into one sound rather than partitioning each segment, but the use of each was implemented skillfully. Imago Mortis is on the verge of creating something potent here, and it’ll be exciting to see the band develop this idea further.