Review Summary: An album accurately described by its title.
It’s difficult not to get your attention drawn to a record with such a detailed and well-designed album cover. The second offering by Enepsigos, “Wrath of Wraths”, touches the aesthetics of bands like Nightbringer and can be an instant turn on for listeners who are interested in orthodox black metal, yet while the project itself is new, the band members themselves certainly isn’t. Mainman V.I.T.H.R. is involved in current Norwegian black metal acts like Nordjevel and Svartelder, while the drummer Thorns should also ring a bell, most likely as a member of Frostmoon Eclipse or Darvaza. And while we’re still waiting for a full length from the latter, we can dive into the aural madness of “Wrath of Wraths” and have a proper dose of quality, aggressive black metal.
Following a similar mindset in its title, the record is a follow-up of 2017’s “Plague of Plagues” and is a step forward in all aspects for the band, not only in the cover but in the music itself. In these three years, Enepsigos have managed to put their ideas in the right order and aim towards a more personal sound, which is now finally boosted by a powerful production (thanks to Necromorbus) and perfect vocals, since this was where they had serious issues with their previous release. Wrath of Wraths is musically more attacking and focused, with plenty of potent riffs that dwell between the modern scenes in France, the US and Norway, making the band by no means a typical Norwegian band that you would expect to hear.
Their influences are perfectly balanced and the menacing guitar lines hardly give any break throughout the listen, but only in a handful of moments when the record slows down a bit. Some samples are used (like in “Seventh Seal” or the scream in “The Temple is A Whore”) but for the most part, “Wrath of Wraths” builds enormous momentum from its crushing sound and even more crushing guitar work. Examples of this furious guitar work can be found in “Seventh Seal”, in the excellent track “Confess” as well as the highlight of the record, “Cups of Anger”. What makes this special is the use of part with chanting and operatic vocals that truly skyrockets the composition, making it the most memorable of an album that is full of remarkable tunes. The band’s hostile temperament unfolds from the opening track “Shields of Faith”, which is one of the more monotonous but at the same time, heaviest pieces in “Wrath of Wraths”, a record that opens and closes in the same frantic manner with the last and longest song “Water and Flesh”.
It is obvious that Enepsigos have moved on a different level with their second release. They have become darker both conceptually and musically, they have expanded their song-writing skills and from what is presented in “Wrath of Wraths”, they have put out notable material that will hook and exert pressure to the listener. I didn’t expect much from this project with the picture I had formed in my head about them from their debut, but now things have gotten quite serious and “Wrath of Wraths” could climb high in this year’s best pick albums.