Somewhere between Italy and Norway in late 2006 Hour Of Penance’s Enrico Schettino started Hideous Divinty www.facebook.com/hideousdivinity/timeline with the band immediately making an impression with their 2007 demo Sinful Star Necrolatry. They signed a three album deal with Unique Leader Records after the Inferno Festival in Oslo, Norway. In late July 2011 they recorded Obeisance Rising based on John Carpenter’s They Live. This year they give us Cobra Verde based on the 1987 movie starring Klaus Kinski and directed by Werner Herzog.
The eight minute beginner, “In My Land I was a Snake” starts with the blowing grizzled sands of guitars chords and ocean waves of malicious musical ether giving way to pummeling guitars with double bass kick starting the descent into insanity. Dillinger Escape Plan meets Strapping Young Lad shadowed with the evil of Behemoth. Bodies are thrown onto the carpenter’s conveyor as guitars with teeth slice away with blood sharp precession. Calculating, driven riffs premeditate the listener’s threshold with quick flashes of technical sampling with a schizophrenic mosher’s race pace playing a game of human metal chairs.
“Somber Empire”’s give immediate drums to the gut during the first 30 seconds of the beating. Technical brilliance like a wind up mosh pit sped up to blast beat speed with soaring soloing as guitars cry out misery and anguish.
“Cobra Verde”, a single guitar starts with powerhouse bass and drums breaking the sequence every few seconds, breaking in to stay a minute in spreading some Morbid Angel flavors over the long buried secrets of the Nileistic guitars lunges.
Vocals on “Salt in the Martyr’s Tear” sound like two demons in a death match cage fight wailing away as soul wrenching guitars scream in the crowd.
“Sinister and Demented” is the sound of ramming a fist into the earth slowly pulling up the wickeder side of purgatory. Laser beam guitar notes sear flesh as drums hit skin like hells tattoo machine pounding flesh, with vocals struggling between two insane personalities fighting for mental dominion.
“The Alonest of the Alone”, unearth the long buried voices of the dead, channeling their violent end and torment through screaming vibrating strings.
“Adjinakou”’s a torture rack beating in aggravating slow motion, throwing the meshed up remains into the acid sea.
Their take on Ripping Corpses’s “The Last and Only Son” is led by an Opeth meets Maiden absinthe tainted riff gone marooning into a Death inspired bass groove and ultra-technical Schuldinerish guitar progression.
