April 7, 2008 | | 3.5

Rigor Sardonicous, Vallis Ex Umbra De Mortuus

Like the microscopic progress of decay, Rigor Sardonicous’ flavor of extreme funeral doom crawls through rotting flesh slowly and deliberately. The feel of this album is that of one’s demise — no frills and absolutely suffocating. Crushingly slow guitar work drive nails into your coffin with deliberate steadiness as strictly paced rhythms shake the dust from your bones.

I know that I’ve said it before with regard to other purveyors of doom, but this has got to be the most desolate sounding shit I’ve ever heard. Apocalyptic riffs and funeral dirge rhythms lay the groundwork for impossibly slow, deeply guttural and indecipherable vocals. If you ever are in the mood for some death obcessed, evil metal then look no further than the eight songs on Vallis Ex Umbra De Mortuus.

Mane De Maeroris
The opening track serves as essentially an intro to the disc. There’s what sounds like pan flute as the sole musical instrument while the vocals are chanted in a monotone.

Silens Somnium
“Silens Somnium” is the first real song on the album and starts off quietly with some light guitar work. After just a minute of the subdued guitar, the track’s mood shifts to dark and maddening doom with monolithic riffs played at a snails pace. It’s accompanied by calculated and plodding rhythm via drum machine. The vocals are insanely deep and guttural and growled so slowly that you’d think they were altered in the production process. There are some female vocals that are thrown in here and there to help break up the monotony of unearthly funeral doom.

Incompertus Quod Anon
After that seven minute monostrosity of a song, Rigor Sardonicous start off the next track with similarly slowly developing riffs, but this time around the drums are a bit more creative — even at their slow pace. Again, the vocals courtesy of Joseph Fogarazzo are typical of what one might expect in the depths of hell.

Laudare Apocalypsis
Big riffs and a more tribal beat from the drum machine greet the listener at the onset of “Laudare Apocalypsis.” I’d thought it impossible to deliver his vocals any slower than the previous tracks, but Fogarazzo has out done himself with his growls on this one. Man, they sound impossibly slow. This is one sick track.

Alveus De Somnus
Finally, a slightly quicker pace. I’m all for the extreme funeral doom, but a metalhead can only take so much. At the start of this one is a memorable riff that’ll surely wake the dead from their eternal slumber. The vocals are still pretty slowly paced, but at least the guitars and drums (to an extent) have picked up the tempo a bit.

Prophecies I – Preapocaylyptia
I like the opening riff to this one. It’s got a bit more of a groove to it than anything from the previous songs. The drum work is a bit more creative as well, adding that something extra that was missing before. Again, Fogarazzo’s vocals are sickeningly slow and evil as fuck.

Agony
At just over six minutes in length, “Agony” is the second longest song on the album and starts off with thundering drums. The 3:30 mark has a nice change up in the drum programming as well as a nice shift in the guitars.

Rex Regis Fortuna
The final track to this funeral doom opus continues the themes of decay and death obcession, starting off with one evil ass riff. The vocals are even more guttural and that much more intelligible as this duo methodically carves decaying flesh from bone.

~ ~ ~

Man, I’ve got to tell you that this is a difficult listen. I’m all for ultra extremes in metal, but even this one is a bit on the slow side for me. There are some sick vocals, but the slower pace and plodding riffs give each song a very similar sound often giving the impression of a lack of creativity. That said, if you’re looking for some ultra funeral doom, look no further than Vallis Ex Umbra De Mortuus.

Favorite Tracks:
All of them I suppose, with the exception of “Mane De Maeroris.”

Additional Notes:
Enhanced CD w/live videos