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We hesitate to describe Amthrya as Italian death metal - even though they hail from Italy and do indeed play death metal - if only because the usual connotations that come with such description do not apply and might even give the wrong impression to listeners. The fact is that Amthrya has little to nothing to do with the likes of Hour Of Penance, Fleshgod Apocalypse, and Hideous Divinity – even if they (for better or worse) have come to define Italian death metal as it’s currently known. Amthrya bears no semblance to more cavernous acts as Ekpyrosis or Ferum either. No. Amthrya is something else entirely and they don’t let themselves be pinned down to one convenient regional sound. “Incision Of Gem” is their first with former Opera IX frontwoman Abigail Dianaria (no, that’s not her real name) behind the mic who has adopted a whole new stage persona and calls herself Kasumi Onryō (no, that’s not her real name either) now. Appearances can be deceiving and no release makes a better case for this than “Incision Of Gem”, where nothing is ever what it seems…

Life is stranger than fiction. The best thing to ever happen to Opera IX in the last 18 years was the recruiting of Kasumi Onryō, the heir apparent to legendary frontwoman Cadaveria who left the band in acrimony after 2000’s “The Black Opera”. Onryō brought Opera IX back from the brink of irrelevance with her devilish womanly wiles and reinstated some of the occult magick that defined the greatest Cadaveria-era works. “Back to Sepulcro” - Onryō’s debut with that band - was a lot of things. For the most part it was an exercise in redundancy redeemed by the inclusion of two new songs. More importantly, it allowed giovane donna Onryō to showcase her vocal abilities. These abilities are now put to even better use in Amthrya, a unit consisting of nobody you ever heard of or anybody important for that matter. Again, looks can and will be deceiving. Even though Kasumi Onryō has a penchant for dressing up like Sadako from Ringu (1998) and its hand drawn artwork is richly adorned with kanji and folkloristic drawings “Incision Of Gem” is not a conceptual effort about ghosts and apparitions of Asian mythology. It might very well be the most ambitious project la signora Onryō has partaken in.

The intro ‘Mist of Perdition’ sounds like an unused atmospheric moodpiece written by Romeo Díaz and James Wong for a Tsui Hark A Chinese Ghost Story (1987) tie-in feature that the world somehow never got. The music that follows it on the other hand holds the middleground somewhere between the Dutch, German, and Finnish schools of death metal without ever sounding like either. It never gets quite as abstract and left-of-field as “Nespithe” from Demilich, nor as absurdly technical and structurally dense as Pavor, or as mechanical/angular as Gorefest (circa “False”). However, it clearly takes influence from all three to a greater or lesser degree. The "Nespithe" influence is present in the riffing and drumming and while the rhythms never get quite as out there as their Finnish forebears the spirit is there. The dry guitar tone and some of the more post-influenced chord progressions and accents recall Brood Of Hatred and Golem (circa “Dreamweaver”) in equal measure. Amthrya never stays conventional very long and the bass guitar is as integral to the compositions as any of the other instruments. That ‘Anesthesia Survival’ was chosen as a single is only normal as it’s pretty representative for what “Incision Of Gem” aims for. Onryō is at her best and most primal in a cut as ‘Ebony Gem’ and ‘Letters to my Dears – Thoughts Of A Lost Man’ where she’s allowed the space to unleash and alternate her many singing styles at different times. Which brings us to the proverbial elephant in the room and the one true point of contention (if it can be called that) that we have with Amthrya and “Incision Of Gem”. Why is so little made of Kasumi Onryō’s fascination with Asian folklore and mythology?

That the lyrics she’s singing deal with psychological deterioration and diseases of the mind is a creative choice we’re not going to contest because at least they are put to mildly entertaining Asian ghost horror imagery. Far more damning is that except for the intro segment and a guest appearance from Kotama Omen Mako from MagdaleneJu_nen (マグダラ呪念) and Hiroyuki Takano from Church of Misery precious little actually capitalizes on the Asian imagery the record so proudly boasts. In our heart of hearts we’re hoping that Amthrya ropes in session musicians to lay down some guqin, shamisen, shakuhachi, or koto melodies or even invites 瑜子 from Bloody Tyrant (暴君) to provide pipa for atmospheric breaks or as interludes on their third effort. It’s unfortunate that the usage of ethnic Asian instrumentation is limited to merely the intro. Hopefully future releases will integrate these sections into actual songs or use them as moodsetting interludes, or preferably both. There’s plenty of precedent after all, whether it’s Nile and their Egyptian segments, Morbid Angel and their ritual wanderings, or Hate Eternal integrating ritual ambient into some of their songs. What Opera IX did for Italian folk music on “Sacro Culto” Amthrya should aim to do for ethnic Asian music on any of its planned future releases. The potential here is unlimited.

The closest companion to “Incision Of Gem” are “Suspended from the Cosmic Altaar” from American death metal duo Apocrophex and “Skinless Agony” from Tunisian death metal act Brood Of Hatred, although each put their own spin on what is roughly the same formula. Unlike the Apocrophex record this one doesn’t come bearing artwork from Raúl González. That isn’t to say that the artwork from Kasumi Onryō doesn’t fit the package because it most certainly does. It stays within the monochrome spectrum which is befitting for what Amthrya is trying to convey here. Ultimately one’s enjoyment of “Incision Of Gem” depends purely on one’s preferences. The sense of theatrics and melodrama is typically Italian while the music most certainly is not. Above all this is a record that grows with each listen. This isn’t a death metal record to listen for an easily digestible fix nor has it any hooks to drag first-time listeners in. No. Amthrya is the kind of band that demands the listener’s full attention to truly absorb the layers and nuance of their work. That alone makes them worthy of adulation compared to all these other more conventional Italian death metal sounding bands. None of them are seldom as interesting as Amthrya is here – and that sells Amthrya as the superior practitioner.