History & Biography A band since 2019, the duo issued Nourish Me, Satan, a demo, in 2021. Tom was on bass here. The next demo was called Submit To Death. The group was billed at UK Slam Fest 2022. Tom Left and a Phil helped out for live work. The band Infested Angel released a 2024 single, entitled Euphony Of Dismay, from its forthcoming album Threnodies To Eternal Despair which was released through Art Gates Records on 17.01.2025. The album’s release was preceded by a Northern European tour with Vader and Toxaemia.
Reviews INFESTED ANGEL - THRENODIES TO ETERNAL DESPAIR - ART GATES 
There is a lot to like and this reviewer wavered between marks of 60 and 70 for Threnodies To Eternal Despair. Fundamentally, the musical speed and heaviness and the deep growls impress. On the flip side, the duo adds non-metal elements in a misguided attempt to be diverse and different, which somewhat messes up its value proposition. There is more to criticise as well so let's examine the album further.
Threnodies To Eternal Despair is the five-year-old Infested Angel's debut album, a fact that manifests itself in two ways. The album is replete with chainsaw energy and extremism. Death metal should punch the listener in the gut with exuberance as it worships death and this album does that. At the same time, however, there are the aforementioned impurities in the water. Perhaps the doom-like font, colour and cover photograph are indicative of this, but harmonies are a part of this record. The song To Never Return contains clean backing vocals, even while the growls are reminiscent of Grave's debut, and ends with synthesizers. The following track Euphony Of Dismay begins with a mellow lounge beat before attacking with a whirlwind of brutality. Dread Incorporeal contains spoken word and an acoustic segment. Field Of Ashes is an instrumental with the plucking strings of the acoustic guitar. Control Of Fear, in contrast, has a rare and frenzied solo. The Lost Battle up ahead starts with a flourish of keyboards, while Darkness Envelops presents an acoustic beginning and effects. Then comes Suffering And Retribution, which (again) contains these unnecessary and, at this point, redundant chants before the instrumental Into the Night’s Embrace gives the listener more sensitive keyboards and rain effects. The duo needs to understand that just because one can play the piano and keyboards, it does not mean one should record them and mix them into metal. This instrumental is further representation of the band's perceived romanticism. The final two tracks - both billed as bonus tracks - are a holocaust on audio. The first one chops and hacks with a chugging bass presence. The second one again strums mildly before heading into the horrific vocals.
The biography promises ("... heaviest duo currently in existence") and the music delivers with blast beats, deep growls, speed to your heart's delight, but the constant waste of time and dilution become excessive at some point. Another issue is the drums. While they blast and attack with gusto, they do sound imperfect due to how they speed up and slow down, apparently not on purpose. This goes back to the earlier reference to the band's age and experience. Finally, and this is not a criticism so much as it is a comment, titles like Misanthropic Elegy, Threnodies To Eternal Despair and Euphony Of Dismay, alongside the above-mentioned cover artwork, indicate a desire for poetry and verse with the duo. Who knows? Perhaps they are English Lit. majors.
The bulk of the album features an old-school approach, old-school music and even comes with an old-school cover artwork that does not lie. Yet, while the band is categorically not bad and its devotion to authentic brutal death metal is appreciated, it is clear that the duo could use some experience and a more sustainable plan beyond adding all these extraneous elements and non-metal segments. - Ali "The Metallian"
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