Quadvium | Tetradōm | Agonia Records

 Quadvium is an instrumental progressive metal-fusion quartet with roots in both California and the Netherlands, formed in late 2019 by two iconic figures in extreme metal: Steve Di Giorgio (Testament, Death) and Jeroen Paul Thesseling (Obscura, Pestilence). Both musicians are recognized for their distinctive multi-string fretless bass playing, and the idea behind Quadvium was to build a sound architecture where two such bassists could collaborate not as competing voices, but as an integrated dual force.

From its inception, Quadvium was conceptualized as more than a studio project. It became a calculated endeavor that required the right chemistry and vision. This vision eventually expanded to include drummer Yuma van Eekelen (Our Oceans, Pestilence), whose percussive insight and technical versatility added necessary structure and nuance. The final piece came in the form of Eve (Myth Of I, Kaathe), a composer and guitarist whose contributions shaped much of the compositional framework and sonic direction of the group.

The idea was to avoid conventional roles and hierarchies—no rhythm vs. lead bass, no competition of egos. Instead, the band invested years into realizing a layered, intricate instrumental language built on mutual understanding and shared artistic ground. With the support of Agonia Records, Quadvium entered a focused recording phase to create their debut full-length, "Tetradōm."

"Tetradōm" is a carefully constructed journey into fusion-based progressive metal, driven by collective balance and deliberate arrangement rather than individual showmanship. Across its seven instrumental tracks, the album expands and contracts organically, shifting through tempo changes, textures, and tonal narratives that rely more on composition than complexity for their forward motion.

The two-bass structure is not a gimmick, nor is it overwhelming. Steve Di Giorgio and Jeroen Paul Thesseling interact like twin architects, offering contrapuntal lines, microtonal colorations, and elastic phrasing that cover much of the harmonic spectrum. Their interplay isn’t centered on dominance but coordination. Every passage they build together works more like a shared current than a tug-of-war.

Eve’s guitar work anchors and elevates the whole framework with dense riffing, scalar leads, and atmospheric interludes that create depth and breathing space. Guitar never dominates, but it does move the music forward structurally, offering contour and binding transitions. Eve's role as producer and principal composer is especially noticeable in the way ideas are linked and developed through themes rather than abrupt flourishes.

Yuma van Eekelen’s drumming avoids excess and favors structure, not flash. His work feels meticulous and supportive, often taking a compositional role in shaping the rhythm’s geometry without disrupting the free-form dialogues happening between bass and guitar. He creates movement that complements rather than competes, giving the music an agile but grounded pulse.

The album’s mood is often contemplative, sometimes dissonant, and occasionally intense, but rarely linear. There’s a sense of discipline in how the band chooses not to fill every second with sound. Silence and space are used wisely, which makes the dense moments more impactful. Songs like "Adhyasa" and "Ghardus" unfold patiently, relying on evolving structures rather than repetitions or sudden shifts.

Production-wise, "Tetradōm" sounds transparent but tight. The mix respects the complexity of each instrument’s range, especially given the low-end emphasis of two fretless bass players. Nothing bleeds or muddies—each instrument is positioned with care and intention. The mastering by Dereck Blackburn ensures a sense of depth, particularly in the dynamic passages where textures interweave subtly.

Visually, the album is wrapped in the surreal imagery of Travis Smith, which fits the esoteric and introspective direction of the music. His cover design hints at isolation, ascension, and elemental transformation—core emotional resonances that the music itself implies without needing lyrics.

"Tetradōm" is not a collection of jams or flashy prog demonstrations. It is a restrained yet technically fluid exploration, rooted in a shared ethos between four musicians who trust each other’s instincts. What results is an album that doesn’t push toward extremes but prefers a path of equilibrium, tension, and refined form.

Score: 8.0

Lucifer's Child | The Illuminant | Agonia Records

 Lucifer’s Child was formed in Athens, Greece, in 2013 by guitarist George Emmanuel (ex-Rotting Christ, Necromantia) and vocalist/bassist Marios Dupont (ex-Karma Violens). Built on a foundation of Hellenic black metal, the band made a distinct impression with its debut, "The Wiccan" (2015), followed by the more aggressive and ritualistic "The Order" (2018). Their style blends traditional black metal with atmospheric and Mediterranean elements, often incorporating dark spiritual themes and ceremonial intensity. After a long silence, the band resurfaces with its third full-length, "The Illuminant", released through Agonia Records, signaling a new stage in its path.

"The Illuminant" is an album that reflects an experienced band taking time to refine and expand its voice. There is an obvious shift in pacing, mood, and layering when compared to the past. While previous works leaned toward relentless energy and direct force, this album brings with it a broader sense of space and patience. The material leans into its dark ritual roots while introducing passages of melodic tension and restrained power. The result is a sound that is less impulsive and more composed, evoking a sense of meditation through intensity.

The production has weight and clarity without being excessive. The atmosphere remains raw where it matters, yet structured in a way that makes the arrangements breathe. George Emmanuel’s production balances sharp edges with a deep undertone of mood, neither flattening the aggression nor pushing the ambience too far to the front. The percussion, recorded separately at Pale Blue Dot Studios, sounds natural and tightly bound to the guitars, keeping rhythm sharp and unforced.

Vocally, Marios Dupont maintains a controlled yet severe presence. His delivery does not shift wildly across the album, instead reinforcing a stable tone of menace and authority. The lyrics often center around themes of inner fire, sacrilege, and mysticism, yet refrain from overt ornamentation. There’s a reserved, deliberate power in how each track moves, giving the album a cohesive shape from start to finish. The melodic passages that do appear are handled with restraint, never overwhelming the foundation but enhancing its dimension.

From start to finish, "The Illuminant" remains consistent in its vision. It never falls into overcomplication, nor does it rely on repetition to fill its runtime. The transitions between tracks feel organic, and while each composition maintains its own form, they collectively contribute to a singular atmosphere of ritual intensity. There is no need for gimmicks or forced experimentation here—Lucifer’s Child knows what it wants to achieve and pursues it without hesitation.

This album burns with purpose and lets its flame speak slowly. After seven years of silence, Lucifer’s Child returns not with spectacle, but with control, maturity, and gravity.

Score: 8/10

Embrional | Inherited Tendencies For Self-Destruction | Agonia Records

 

Embrional is a death metal band from Gliwice, Poland, formed in 2003. Their sound is rooted in the darker, more chaotic tradition of Polish death metal, marked by intensity, dissonance, and a persistent underground ethic. The band features Skullripper (Azarath) on vocals, and over the years they have developed a reputation for merging brutal riffs with unsettling atmospheres. Prior releases such as “Absolutely Anti-Human Behaviors” and “The Devil Inside” helped carve their identity in the extreme metal scene, blending harsh speed with eerie dynamics.

“Inherited Tendencies For Self-Destruction” is Embrional's fourth studio release and comes after a noticeable period of silence since their last album. This release continues their descent into aggressive, suffocating death metal but takes a more dynamic approach in both production and songwriting. The band’s decision to self-produce—particularly through the hands of Skullripper—results in a presentation that feels raw, deliberate, and shaped by experience.

Guitars bite and drone with shifting layers, moving between violent tremolo riffing and slow, drawn-out sections that give the songs more space to breathe. The drums—captured with a natural tone—add to the depth rather than overwhelming it. The vocal delivery is consistent with the bleak themes, never overdone but present in every measure. The inclusion of brief samples and subtle effects serves as a background texture rather than a dominating force, and the album manages to sound heavy without losing clarity.

“Inherited Tendencies For Self-Destruction” clocks in at just under forty minutes, pacing itself with a balance between direct attack and murkier, atmospheric tension. The mix, courtesy of Haldor Grunberg, retains the density that long-time followers will expect but avoids sounding compressed or sterile. There’s an audible sense of control without sounding clinical.

Though not radically different from their previous work, the album does carry a more focused vision. It’s a step forward in terms of arrangement and cohesion. The themes of despair, violence, and spiritual decay remain central, and the band’s presentation of those elements is both relentless and calculated. This isn’t an album built for accessibility, nor does it compromise its extremity in favor of trend or expectation.

“Inherited Tendencies For Self-Destruction” is a strong return for Embrional, maintaining their core sound while refining aspects that make their music more suffocating and immersive. It is a release that prioritizes atmosphere and heaviness without falling into repetition or excess. Recommended for fans of Azarath, Lost Soul, early Hate, and the darker side of Polish death metal.

Score: 7.5/10

Sadist | Something To Pierce | Agonia Records

Sadist, formed in Genoa, Italy, in the early 1990s, is known for pioneering a distinct form of progressive death metal marked by technical precision, cinematic atmospheres, and non-Western melodic ideas. Their debut, “Above The Light” (1993), earned them a dedicated following, and over the years, the band has remained consistent in exploring complex musical territory, even though there was a hiatus between 2000 and 2005. Founding member Tommy Talamanca remains at the helm, driving the band's creative direction both in the studio and on stage. Sadist has played alongside genre heavyweights such as Iron Maiden, Slayer, and Sepultura and continues to perform at international festivals into the 2020s.

“Something To Pierce” presents a precise and rigid structure, shaped by aggression and layered technique. The album relies heavily on syncopated patterns, mid-tempo dissonance, and abrupt shifts that offer a sense of mechanical control rather than emotional depth. The guitar and keyboard work form an almost surgical backdrop, and the drumming follows with methodical intensity. Tracks such as “Deprived” and “Dume Kike” lean on the band’s typical rhythmic geometry and minor-key runs, while the closing instrumental “Respirium” provides a brief atmospheric interlude.

Production-wise, the album is crisp but not overly compressed. There is no unnecessary embellishment; each section is clearly defined, and the mix allows space between instruments. However, the repetition of phrasing and a consistent adherence to form over variance may leave a narrow listening experience for those outside the niche.

The vocals remain monotonic throughout, a deliberate choice that aligns with the aesthetic but may also reduce dynamic interest across multiple listens. The lyrical content, while harsh and direct, doesn't expand beyond conventional death metal themes.

For listeners already familiar with Sadist’s back catalog, “Something To Pierce” continues the band’s trajectory without significant deviation. It adheres to their formula with precision and retains a controlled and calculated intensity from start to finish.

Score: 7/10