Hailing from Warsaw (Poland), Deamonolith are a relatively newer five-piece formation on the scene, founded in 2022. Band’s line-up consists of following musicians; Major (guitars), Desecrate (drums & dark ambients), Sunrise (guitars & classical guitar), Lukas (bass) & Kobuch (vocals). But that’s not all, as additional five guest musicians also contributed in creation of band’s first formal release titled, The Monolithic Cult Of Death, but more on this as we come further into each of the songs.

The Monolithic Cult Of Death, released by Godz Ov War Productions, is compromised of six quite lengthy tracks offering a lethal dose of progressive death metal. In other words; the album is broken down into six segments, each representing narration from various characters. In fact, the album contains only one song that lasts for longer than 35 minutes, but it’s been devided into six pieces to make listening of the physical release easier.

So it begins with opening track named “The Afterfall”. The song begins with an extended intro segment of pianos and ambient noise, where the piano appearance in the opening intro is done by Magdalena Sienkiel. This short intro is succeeded by a decadent riff and slower drums, that march the song forward. Into a well-structured death metal with all its main characteristics; churning guitars, blasting drums and throaty & barking vocals. After the first introduction to the band’s sound follows “The Ultimate Solution”, being an old-school mix of death and thrash, featuring some ugly bursts of cacophony towards the end of the track. Next one is called “The Fall, The Reek & Forlornness”, which has this blast beats sonic assault, but as the song moves further on, the sound ends in a mid-tempo. Now follow my favourite track on the album, “The Acknowledgement”. This one opens with a thrashy riffing, filled with both melody and aggressive & crushing sounds. Next track, “Conquerors Of The Void” is a bit risky and controversial, as I can hear some pros and cons in here. Firstly, the musicianship is pretty decent and all guys are perfectly handling their instruments. Another nice feature is the saxophone which is thrown in the mix by Łukasz Wypych. Equally interesting are the ambient piano parts, this time the contribution by Sebastian Świciak. On the other side, the song is very long (12 minutes!?), and despite of the great musicianship, it felt exhausting and boring towards the end. Ending the record is the expended outro, a progressive ambient track called, “When All Has Been Done”. Furthermore, Michał “Xaay” Loranc is occasionally responsible for male clean vocals and choirs, while Anna Malarz stands for female vocals.

The production is pretty good, being both ‘warm’ and bombastic, sheer and raw at the same time. Sometimes it felt as the production favors drums and vocals, but it doesn’t take away any of the enjoyment from listening to this quite impressive debut material from the Polish quintet.

This epic and impressive concept work can be recommended for fans of Septicflesh, Edge Of Sanity, Insomnium, Opeth, Behemoth, Death Angel, and similar thrash/black and (proggressive death metal) acts.

For more information on Deamonolith and their debut full-length The Monolithic Cult Of Death, see https://godzovwarproductions.bandcamp.com/album/the-monolithic-cult-of-death