Some four years after the release of Necrophobic's acclaimed debut The Nocturnal Silence, and only interrupted by a stop-gap EP from last year, Sweden's Necrophobic is back with a shuffled line up and a slightly more basic sound. Having lost guitarist/composer David Parland to his project Dark Funeral, the band has fulfilled its promise to mix its death further with black metal and offer a rawer sound than was previously the case. Yet, the story remains that the gang is still highly fast and heavy, while having become more explicit in the proclamation of its Satanic beliefs. Phrases like "Satan take my soul" are surely cliched, but if stemming from a true belief, then the band has every right to write as it pleases. Musically, there are less solos and tempo changes and an attempt for a rawer, more simplified assault. I, for one, miss the classy solos that only Necrophobic delivered, but there remain a couple to savour. It is also funny how similar to albums by countrymen Entombed, Dismember, etc. the band leaves no gap between the first two songs. Finally then this album is not up to the standard set by the debut, but on its own is a good metal album. Play tip: Nailing The Holy One featuring a massive vocal contribution by Dissection's Jon Nodtveidt. - Ali "The Metallian"

Celebration Of The Goat doesn’t waste too much time being Necrophobic. In the same mould as Dissection few can claim to be death and black metal, add touches of melody and still do it with such impact. Revelation 666, for a good chunk of its seven minute length, is an example of what death and black metal should be and incorporates some Slayer sounding heavy riffs and metal solos worthy of any metal tag. In its latter parts the song concentrates on the moody and mid-paced stuff but the impact is never diminished. La Santisima Muerte picks up the full steam ahead nature and only briefly lets up. For Those Who Stayed Satanic has a more black-ish feel to start before picking up the pace and presenting more of the expected. Here the band does dabble into simple raw black metal in the midst of the more melodic and the heavy. Temple Of Damnation is a sort of natural flow of things, not much new but there is no need, with again hints of Slayer in short bits and pieces and a long solo too. The Tower is for the most part Marduk, Dissection and Dark Funeral like. Wings Of Death starts off slow with melody then turns mostly heavy and is perhaps the most technical song on Death To All. The closer and title track is in three parts, The Summoning, Triumph Of The Horned and ...And Jesus Wept. After a brief haunting start it jumps into riffs, melody, solos, speed, and downright evil that make all of this 45 minutes a must have. - Anna Tergel