Interment, Into the Crypts of Blasphemy

Listening to Interment‘s debut full-length (22 years in the making, by the way), Into the Crypts of Blasphemy, is like opening some long forgotten time capsule from the early ’90s. Everything about this album — the buzzing chainsaw guitars, the growling vocals, even the song titles — are straight out of the then-burgeoning Swedish death metal scene.

And that’s to be expected from an album like this.

The last time Interment released anything before a 2007 split with Funebrarum was back in 1994, right before they disbanded. They probably drank with Entombed, more than likely swapped riffs with Dismember and hung out with Grave. I mean, these guys are as old school as you can get with the release of any modern day album. Every note on Into the Crypts of Blasphemy oozes the distinct sound and evil of the death metal that was storming out of northern Europe at the time.

If these guys had released this album back then, we might be considering them one of the forefathers of the genre. Now, however, they’re seen as a talented group of death merchants slinging some really well crafted old school death metal. The thing is, it’s perfect! It’s a sound I grew up with. It’s a sound I want to hear 24/7 — flooding my ears with burly, buzzing riffs in only the way that Entombed could have done in their early days.

Eternal Darkness
“Eternal Darkness” jumps out of the album right from the get go with pounding drums and riffs straight off of Left Hand Path or Clandestine. I love the Johan Jansson’s vocals on this album. They’re raw, aggressive and pushed back in the mix to just the right degree that everything is well balanced and natural. Two slick, searing and evil leads bookend the brutal bludgeoning you’re gonna take on this one.

Torn from the Grave
Man, this one chugs like an out of control locomotive careening down a steep grade, aimed right for your ass. It starts off slow and slowly builds momentum with crushing riffs and a catchy as hell d-beat rhythm. The slow down just after the midway point is a nice touch to keep you from being bombarded too much too early in the album — have no fear, though, it’s quickly followed with a sweet lead and increased pace.

Dreaming in Dead
“Dreaming in Dead” is as aggressive a song as you’re going to find in this style. The drums are hellbent on pulverizing your skull as quickly and as violently as possible. The guitars have that classic Entombed sound and the vocals are tinged with malevolence. This is one of those songs that you just hope will randomly come up next on your iPod while at the gym. It’ll have you so freakin’ pumped for anything that comes your way.

Stench of Flesh
Holy Hell! Each song just seems to get better as the album progresses. The eruption of blasting drums and vile riffing will surely be enough to wake the dead, allowing the stench of (rotting) flesh to permeate the air. This is a raucous, unrelenting song complete with raw production, buzzing guitars and vicious vocals. I need more of this.

Where Death Will Increase
After a brief clip of some chick telling me where to go, the guys open up with a high tempo, chugging rhythm and buzzing riffs. Jansson’s no-nonsense vocals are raw as hell and in your face on this one. The music, however, steals the show with a sound right out of the epicenter of Swedish death metal. This thing rumbles, shaking the earth to its core. The lead at 2:35 is appropriately evil.

Sacrificial Torment
While each of the previous five songs have slayed it, “Sacrificial Torment” is classic in every sense of the word. From the memorable opening to the chugging, Entombed-inspired overall vibe, this track is easily one of my favorites on the album. It’s a bit slower paced than most of the previous material, but it reminds me so much of listening to the Stranger Aeons EP in my bedroom after class. Awesome. Love it!

Night of the Undead
Interment bring things back up to speed with the pounding drums and driving riffs of “Night of the Undead.” It’s a pretty straightforward, bruising and morbid affair that will leave you breathless and a bit sore in the neck region. The lead at 1:45 has a classic vibe to it as it weaves its evil sound through your soul.

Morbid Death
One of the two longer tracks on the album, “Morbid Death” starts off dark and slow before a big growl and sick lead come in seconds after the song starts. Right from the start this one has an ominous feel to it as it slowly picks up the pace over the first minute or so. Once the meat of the track gets underway you’re at full speed with bludgeoning drums, buzzing guitars and Jannson’s snarling growls. There are some seriously memorable bits of guitar work throughout this song, including the brief lead around 3:20. Tempos shift all over the place during “Morbid Death,” but the track still flows smoothly like crimson from a freshly opened jugular.

The Pestilence
I’m pretty sure that this is a cover of a Kreator track, but can’t be 100% sure because it’s delivered with such ferocity and malevolence that it sounds like an Interment original. At any rate, it’s a full throttled, high paced, peel-your-face-back affair that only takes a moment to slow down about half way through before putting a boot into your chest with rapid fire drumming and a sick lead. And like that, it’s over.

Wow. I’m going to have to listen to this album again.

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Additional Notes:
n/a