There has to be a theme around which this demo CD is built, although what it is this scribe does not know. The disc begins and ends with the sounds of a cuckoo clock, but what is sandwiched in between is growling death metal with a powerful and guttural punch, with some exceptions. The first couple of songs are trusted and true brutal. Then on the songs Living Reification and Inversion-Perversion Ivan Di Marco introduces some lame clean vocals that, especially on the latter song, sound like the child of Danzig and Jim Morrison. Most of the demo retains its heaviness and even has original guitar techniques on several songs including I Corpi Privi Di Vita. Helmet Logic has some heavy riffing and The Hate's chant of the title is hardly missing any power.
Resurrecturis has been around for many years and has seen much delay and adversity in its time. It would be a cool idea to support the band by writing to or visiting The CD comes in an original packaging by the way. - Anna Tergel

To be blunt my first assumption right off the bat was that this album would suck. For that one has to see the name of the issuing record company, namely Copro Records. Who needs another pathetic mallcore band? Well, no one really, but Resurrecturis turned out to be anything but. Thank Zebub! Indeed, upon hearing the first couple of tracks the idea that this band might be the cream of the crop started to gel like the scheme to rape the masses at a fascist convention. The songs were heavy death metal, the riffs monumental and precise, the production dense and what was not to like? The first couple of songs were short, but excellent. With nothing repeating The Origin and Prologue - it’s a concept album about art and work - have good riffs galore nestled in a forceful sound. There were at least two vocals at work and loads of heavy emotions. It was all OK until... well, Resurrecturis aims for diversity.
Prologue could in fact be the death metal answer to Bon Jovi. Listen and you will get it. The Artist is an industrial pretender with the dreaded female droner appearing on this album as well. What the *^%@#!!? This blend continues on Calling Our names where the song goes from being a Metallica-type semi-ballad to trying hard to copy Iced Earth’s guitar tone and riffing. It even sounds like Lars Ulrich drummed on the song. Where Shall I Go From Here? mixes in the melody, although the melodic note interplay is really nice to be honest. The worst is left for last where In Retrospective fits in a pop diddly acoustic guitar. The band goes Mr. Big big time.
What a rollercoaster or what? It seemed to be crap. It seemed to be great. It ended up being confused.
It had potential. Great ability. Great sound. Great artwork. Great ideas. A DVD attached. Then the band lost it. How sad. - Anna Tergel