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Sin of God is Death Metal Legion from Ambrózfalva, Hungary. This’s my reviews about SOG 2nd Full Length Album, Aenigmata.


1st track, The Emerald Tablet. Guitar Riffs vaguealy & rather Thrash Metal, Low Vocals and Explosive Drums. Ended with acoustic guitar lick after blasting. 2nd track, Phosphorus. Thrash riffs and rather Groove Metal, solid Double Pedal and Technical. 3rd track, Ignis Infernalis... Illuminate Us. Dark riffs, Grinding composition and a little bit Progressive.


4th track, Loss Leads Into Impiety. The Riffs is very Thrash & Groove and the Drums is very Explosive. Excellent Harmonic Minor Licks made this song is more Great. 5th track, Aenigmata. Harmonic Minor Guitar and Blasting Drums. It’s Harmonize of Brutality and Grinding. 6th track, Altered States Of Chaos. The Thrash of Grinding. Dark, Brutal, and catchy Harmonic Minor Guitar Solo. Thrash, Brutal, Harmonize and Grind.


7th track, Deus Metamorphosis. Without Guitar solo, but SOG still present Groove riffs and Grinding composition. 8th track, The Great Lion Devours The Sun. Without Guitar solo and Groove fucking Grind. 9th track, The Human Worm. Dark Riffs also Thrash, changeable composition and tempo and rather Technical. It’s Great ending.


Thrash and Groove Metal riffs, Explosive Drums, Low Vocals and Grinding.

Masterpiece of The Brutality. Thrash Riffs, and Explosive Drums.





A devastating cataclysmic collision of  old-school death metal played with just the right amount of technicallity. The album is intense in its execution, with attention to detail and song craft to back it all up. Although the band bring nothing new to the table per say they do however deliver on a grand scale a classic death metal album. The production is fantastic and enhances the performaces as every single note is heard and no detail is lost. Whoever produced the album did a great job in not making it overly compressed or digital in sound which is the death knell, please excuse the pun of modern death metal. A very organic sounding album. The guitars deliver hard-charging, chugging riffs over blast beats interspersced by deep swirling riff-work to devastating effect, I dare say I hear a distinct grind infleunce on some of the more faster parts of the album where the band let loose. The band play a style of death metal which has been tried and tested but they do it in such away that it is not forced and with a sense of dynamics which lifts this release well above the line where others have failed.





Hungary’s extreme death metal nihilists Sin Of God is one hateful, motherfucking of a band to hail from Eastern Europe.


Sin Of God, in my opinion is definitely one of most extreme death metal bands in the world, as they lay to waste most of the death metal competition globally.


Take for example, opening track “The Emerald Tablet”, which starts of with a chilly synth composition, and then this quintet throw everything at you, in their arsenal of technical sonic decimation. Just from listening to this song, you know you’re in for one hellish of a ride here.


“Aenigmata” is so perversely soul obliterating, that the music here symbolically comes across as iron spears of lethal poison lodged into the eyes of god. The guitars on this album come at the listener like nuclear warheads for totalistic annihilation. The melodically played guitar riffing and solo runs feel like tracer bullets cruelly taking down its victim in such horrific ways, which is just beyond comprehension.


“Altered States Of Chaos” starts of with its eerie electric guitar acoustic passages and then lunges at you like a black panther viciously craving your blood, and the hunt is on for your soul. What makes this song and the others on this CD, is their ability to sound very dark, cryptic and repulsively so wicked in the album’s aural presentation. Mark my words here; you will suffer within this quintet’s realm of sadistic torture and bestial enslavement.


“Deus Metamorphosis” is another blasphemous track that is guaranteed to strip the flesh of off your bones, and leave your spirit bare naked, from its savagely executed drumming, devilish vocals and razor sharpened guitar rhythms.


“The Great Lion Devours The Sun” along with the last track here, “The Human Worm” are the bringers of the great apocalypse, where the whole fucking world burns alive in immense and immeasurable despair.


Sin Of God is the best-kept secret to be let out of the evil box of death, and this weapon of mass destruction is coming for every human life on the earth-prepare to burn alive. Sin Of God is certainly the best extreme death metal band to ever exist, period. There is no real competition, which stands in this band’s way.




Sin Of God from Hungary combines technical death metal and grindcore in their music. No one has reinvented the wheel here, but often you don´t have to if your fundamentals are good.




I was worried, as this was my first encounter with Sin Of God, that this is going to be some instrument wankers doing guitar porn and I was very happy when ”phosphorus”introduces some old school based technical death metal. ”Ignis Inferalis… Illuminate Us” kind of reminds me of Amon and Deicide, but even with these associations Sin Of God does not sound like a duplicate of the fore mentioned, but actually delivers some enjoyable death worship. However there is not one song that would clearly rise above the rest. It feels a bit like all the songs are carved from the same wood and this is the downside of the album. In a nutshell, Aenigmata is a good album, but offers no surprises. Those who love bands like Amon and Deicide should check out this album.




Hungary has given us yet another angry metal band only this time flavored with death metal under the name Sin of God. Aenigmata is Sin of God’s latest release and it is about alchemy and dissection of faith. Check out their Facebook and Bandcamp!


Alright this album is amazing. It’s really heavy and has a lot of talent on it. The opening track hooks you right in with its evil, heavy sound. Everything moves at a steady pace almost at all times, making it very easy to headbang to if that’s your kinda deal. Sin of God doesn’t play too fast, but they don’t play slow either. There are few moments where things aren’t moving fast, like on “Aenigmata.” Other than a riff or two, the songs move consistently and stick to a nice speed.


There aren’t solos on every single song, but there are quite a few and they are all very tasteful in their style; they aren’t too flashy and the tone is controlled so the notes don’t pierce your eardrums. That could also be partially due to good mastering for not stacking the guitars on top of everything (thankfully). The basslines are technical and present, so I definitely can’t complain there.


From the verses even down to bridges, Aenigmata drips with alchemical schemes and lust for blood. Even if I had not known before listening to Aenigmata, you can feel that there is something relevant to dark magic going on. The songs that really cast the darkest spells include “The Emerald Tablet,” “Aenigmata,” and “The Human Worm.” The first and last song of those three are the first and last songs of the album respectively. Maybe this was done on purpose, maybe not. Either way, “The Emerald Tablet” sounds like the set up: getting the ingredients together (which may include sacrificial animals!), dressing in the appropriate garb, other pre-alchemy processes. As the conclusion, “The Human Worm” sounds like the product of the magic performed on that day. There is a sense of beholding from the alchemist(s) played out through the song. The palm-muted riffs halfway through the song build up the tension as we reflect on this unwieldy creation. There is surely a sense of finality and of undoing in “The Human Worm,” as if the alchemy was taken too far, but it’s too late to stop.


There is plenty of death metal that screams blood lust, torture, and other violent acts, but you don’t always come across an album that not only is meant to be about alchemy, but actually plays the part. I can’t help but think back to Arkanum by Cult of Lilith. I was not given context about Arkanum, but that also had mystical undertones in the music by the atmospheres and what not. The point is: I haven’t come across much music that sounds magical. I don’t mean like “wow this is so good it’s magic” kind of deal, but like you can visualize cauldrons and dark spells and all that fun stuff while listening to this music. Maybe I’m being too imaginative, but I’m sticking with the opinion that Aenigmata sounds like serious alchemy.


The way some of the riffs move remind me of Fleshgod Apocalypse’s older work. The fast double-bass over an alternation between chords ringing out and tremolo-picked scales next to growled and sometimes distinguishable lyrics do the trick. There are no symphonic elements at all so don’t look for them. If you like fast death metal that sounds like the concept(s) the lyrics are about, this is for you. There is nothing more entertaining in music than being able to place yourself in the context of the music, and Aenigmata does exactly that. Well produced, in my opinion, with a lot to offer between the instrumentals and the overall atmosphere. Sin of God deserve more attention.




Una bomba pronta a deflagrare in qualsiasi momento. Gli ungheresi sono dediti ad un death metal senza compromessi e il loro grado di pericolosità è talmente elevato che nei presenti trentotto minuti vi chiederete davvero se sarete capaci di sopravvivere. Fin dalla cover, 'Aenigmata' si immola a livelli di brutalità senza precedenti con nove tracce distruttive ed improntate sull'organicità e sulla dimensione live che segnano progressi evidenti rispetto al precedente 'Limbus'. Se vogliamo il piglio è quello minimale e quasi grindcore dell'ep 'Satan Embryo', registrato sei anni fa, ma nel frattempo la band è diventata più matura e ha saputo piegare la tecnica al proprio volere. L'unico punto debole è rappresentato dal cantato gutturale di Balázs Lévai, anche nei Gravecrusher, che non brilla per originalità pur essendo ugualmente efficace. Il resto impone i Sin Of God ai vertici della scena extreme metal underground del vecchio continente. Riff e batteria sono micidiali, le parti di chitarra solista di Szabolcs Molnár non temono confronto e l'impatto generale è superbo. 'The Emerald Tablet', la title track e 'Deus Metamorphosis' gli episodi che vi lasceranno un segno indelebile ma è l'intera scaletta a meritare di essere consumata di ascolti.  





For the final new song in this collection I have an advance track by another Hungarian band from an album that’s also coming our way from the Satanath Records camp. In this case, the band is Sin of God, and their album Aenigmata will be released on September 23.


As manifested through “Phosphorus”, Sin of God’s brand of music is a hellish form of death metal that makes use of both thundering, pile-driving grooves and sinister, vibrating guitar melodies, both thrashing rampages and brute force stomping, with both dismal dirges and scintillating solos. The vocal department gives us deep, heartless growls, amplifying the music’s dark aura of… well… rotting corpses being piled high.






So I am back with another album review and this time it is AENIGMATA by SIN OF GOD.


SIN OF GOD ( that’s some name \m/ ) is a 5 piece death metal band from Ambrozfalva, Hungary.  This is the band’s second full length album which will be released on 23rd September ’16 via Satanath Records and Murdher Records.


It is probably a fair fact that SIN OF GOD is not known in big circles ( that’s what i believe,i may be wrong) but the lack of worldwide recognition doesn’t prevent their full-length release from having some interesting points. The new album is much more fierce and destructive than the previous full length album. “Brutalization of the Core” is definitely the band’s objective behind producing such a opus. Album run time is 38 minutes and consists of 9 destroyer tracks.


Album cover art is very impressive and just by looking at it one can tell that the album will be all about brutal death metal.


The riffs are fast and face melting accompanied by speedy drumming and signature death metal vocals.  The harshness and destructiveness of death growls is in complete sync (or you can say complementing) with band’s death metal’s abrasive music style and dark subject matter. The vocals are lyrically and thematically darker and more ghoulish and succeed in evoking chaos, death and anger.  The tracks have viper fast riffs. It is like the bands lead and rhythmic guitar player are shooting riff bullets from there guitars with ultrafast intensity. The drumming is that which you expect a death metal album to have. Fast , brutal , assaulting , skull thumping , I would probably fall short of words and would not be able to describe what it actually is. But I am pretty sure that I gave you an idea as to what the drum beats you could expect.   The tracks will definitely leave an impact and are of a type which would get registered in listeners brain.


Their music is authentic death metal with some technical aspirations, including a lot of rhythm change. You may not be able to connect at first , but after some tracks everything will fall in place.


While it should do no harm to anyone, AENIGMATA  is especially worthwhile for those who don’t pursue the easiest solutions everywhere.





Sin  Of  God  are  a  band  from  Hungary  that  plays  a  very  brutal  and  technical  form  of  death  metal  with  elements  of  grindcore  and  this  is  a  review  of  their  2016  album  "Aenigmata"  which  will  be  released  on  September  23rd  as  a  joint  effort  between  Satanath  and  Murdher  Records.


  A  very  distorted  guitar  sound  starts  off  the  album  which  also  gets  heavier  a  few  seconds  later  while  also  adding  in  dark  sounding  melodies and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  and  the  vocals  bring  in a  mixture  of  death  metal  growls  and  high  pitched   grindcore  screams.


  All  of  the  musical  instruments  on  the  recording  have  a  very  powerful  sound  to  them  and  the  songs  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  the  solos  and  leads  are  done  in  a  very  technical  yet melodic  style  and  clean  playing  can  also  be  heard  in  certain  sections  of  the  recording  and  the  riffing  also  brings  in  technical  elements  at  times  and  there  is  also  a  brief  use  of  spoken  word  parts  and  after  awhile  there  is  a  brief  use  of  classical  guitars.


  Sin  Of  God  plays  a  musical  style  that  takes  old  school  and  technical  death  metal  and  mixes  it  in  with  some  grindcore  elements  to  create  a  sound  of t heir  own,  the production  sounds  very  professional  while  the  lyrics  cover  the  Alchemy  of  Occultism.


  In  my opinion  Sin  Of  God  are  a  very  great  sounding  technical  death  metal  band  with  elements  of grindcore  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "The  Emerald  Tablet"  "Loss  Leads  Into  Impiety"  "Altered States  of Chaos"  and  "The  Human  Worm".





Sin of God es una banda de Death metal técnico formada en el 2004 después de un par de demos, la banda grabó en el 2010 su primer ep, Satan Embryo y en el 2012 su primer larga duración, Limbus, que cosechó buenas críticas.

sin of god 2Ahora le llega el turno a este Aenigmata, que saldrá editado el 23 de septiembre a través de Satanath Records. La banda ya no tiene nada que ver con la de sus inicios. Numerosos cambios de formación y orientación cada vez más técnica a su música.

Los húngaros nos presentan estos nueve temas que van directos al grano. Una banda recomendada para fans de Krisium, Behemoth, Morbid Angel, Immolation o Nile, por ahí van los tiros. Death técnico, con atmósfera cargada y breves pinceladas de Grind, es lo que ofrecen.

Una de las características principales de esta banda es que siempre busca una atmósfera oriental para su música, del viejo Egipto, de ahí la comparación con los Nile, aunque musicalmente yo los veo diferentes, estos húngaros son mucho más veloces. Los temas no tienen una temática concreta pero la atmósfera es tirando a oriental.

The Emerald Tablet deja la primera pista, un corte atmosférico que sirve para meternos en faena y arremangarnos ante la que se avecina. Con Phosphorus tenemos un trabajo de guitarras más afilado que una cuchilla. Un tema con numerosos cambios de ritmo y una ejecución limpia y muy técnica, Death técnico acelerado de toda la vida, pero sin mezcla de estilos, no tenemos jazz fussion en la base rítmica como te podrían ofrecer Death o Atheist en su día.

La influencia de Nile vuelve a ser más que evidente en el corte atmosférico Ignis Infernalis… Illuminate Us. En cambio con Loss Leads Into Impiety, obtenemos uno de los temas más cañeros con un claro sabor a Morbid Angel que no te deja indiferente. Esa mezcla entre Death contundente y tradicional y death técnico funciona, lo único que echo de menos es que le den más protagonismo al Grind, ya que aparece en el álbum en contadas ocasiones como en Altered States Of Chaos.

En cuanto a Aenigmata, es el tema que le da título al álbum y es más reposado, con un mediotiempo cargado de atmósfera bastante lograda y como siempre aceleraciones a golpe de Blast Beats, con una estupenda producción y también quiero resaltar el registro vocal de su cantante, muy potente.

El problema de esta banda es la originalidad. No huyen de esa comparación con Nile, sino que la buscan en todo momento como en Altered States Of Chaos o The Human Worm, solo en contadas ocasiones como en Deus Metamorphosis, huyen de esas comparaciones.

Tienen técnica, musicalmente me parece que logran un sonido equilibrado jugando siempre con esos elementos: atmósfera, Brutal Death, Death metal clásico y Death Técnico, con una estructura sólida. Los temas no son muy originales pues la similitud con Nile es más que evidente, pero hay que admitir que son muy buenos y que el álbum te atrapa, comparado con el anterior trabajo, los Sin of God mantienen la misma línea compositiva.





Hungary holds a stable position in the metal map mainly because of bands like true kvlt blacksters Tormentor and the mighty Attila Chihar, thrashers Ektomorf and folk metallers Dalriada. The quintet of Sin of God comes to expand the metal heritage of the country, adding lots of quality death metal to it. The band was formed in 1999 initially as Dezormon and got its current name in 2004. They have released an ep and one more full length album. “Aenigmata” is the second complete work of the outfit and it’s available via the cooperation between Satanath Records and Murder Records in cd format and through Neverheard Distro on tape.


A key feature of “Aenigmata” is the permanent presence of a “sonic wall” introduced by black/ death bands like Behemoth and Hate, which is mainly attributed to the excellent performance of the band’s drummer, Balázs Botyánszki. To album moves generally at high speeds but our we can often enjoy the riffs and solos in the more mid-tempo moments. Songs like the title track and “Deus Metamorphosis” cause some serious headbanging while the re is also an intense tech death element, more in the vain of Dying Fetus and Suffocation rather than the “magic surrealism” of the modern North American and Canadian scene, except perhaps the bass on “The Human Worm” (beautiful title) which glances sideways at Quebec. Another greatly positive aspect of the album are the very good vocals by Zoltán Molnár who combines depth, brutality and a sense of creeping darkness, which contributes to the overall dark and morbid atmosphere of the album, very accurately depicted on the cover designed by Anvil Kvlt.


After listening this release a couple of times, I honestly wondered about the infamy of the band in the early years of their career, which from what I understand was the result of devastating review of the demo by one magazine editor in their country. The band, at least here, is clearly more inspired and has a better overall sound than many death metal bands passing off as the “next big thing” and promoted by various metal media . All 9 compositions are short and effective, keeping your interest until the end and growing on you after a few listenings. A truly remarkable death metal album that deserves to be heard.





Sometimes, as a music journalist, you get so many promos that it can be annoying, and you miss out on some good stuff because you feel overwhelmed or you get too focused on the new record by a big-name band. But some days, you make a point of scouring your promos, and you find a band that makes you think, Man, I just need to be more patient, because it would’ve sucked to have missed these guys.


For me, one such band is Hungarian death metal crew Sin of God, a link to whose new album, Aenigmata, I discovered today in my inbox. The record is just killer, full of menacing death metal that doesn’t lean too hard into the old- or new-school sound; think a crossbreed of Book of Black Earth, Deicide, and Fleshgod Apocalypse sans opera, and you’ll have some idea of what these guys are like. Modern death metal fans will love the band’s technicality and production, while classic headbangers will dig their atmosphere and badass riffs. Definitely get into them.



Listen to Sin of God’s Aenigmata below, out now on Satanath Records. You can buy the album on the band’s Bandcamp.





Bludgeoning, skin shredding, flesh melting and utterly destructive are only some of the words that can be used to describe Aenigmata. This release is the newest offering from death metal juggernauts Sin of God and this new record is comprised of nine total songs that drain you of your life and empty your veins of your blood. Aenigmata is a savage and barbaric death metal release that after a listen you end up looking like the unfortunate people you see on the cover art. With this record, Sin of God has created something that is entirely brutalizing and completely detrimental to anyone who listens as you feel as though your face has been sheered off after just one rotation.


Right out of the gate Aenigmata begins your beating and from then on you just end up getting pummeled over and over again until you are barely recognizable. This record comes at you with a great intensity as well as an intent to kill and it won’t be satisfied until its thirst for blood is quenched. Aenigmata is a deadly record that tears you apart limb from limb and flesh from bone until you are no more, and if you think that there may be a break somewhere in this release to catch your breath, you would be mistaken. Right after you press play the onslaught begins and this monstrous album begins tearing your head right off of your shoulders.


Through nine songs Sin of God makes sure that you do not exit the listen with all of you intact. After you complete just one listen you may find that you are missing limbs, and with all of the hyperbole aside this record really does make you feel as though you have been through the wringer a few times. Songs roll on one after another and since there is no filler or no intros to any of the songs-save for the few second intro in the opener-you don’t get a chance to catch your breath. Sin of God plays at mach five speeds all throughout this record and not only that but the sheer brutality of each song has the capability of ripping you clean in half.


Aenigmata is packed with eviscerating riffs and flesh flaying solos along with thunderous bass lines and skull splitting drum work. Just as monstrous as the musicianship are the vocals that are filled with venom and blood thirst themselves. With the tight musicianship and the great songwriting you can’t help but to headbang until you bruise your brain so much that you become a vegetable. Aenigmata is a tight, well produced and well put together album that is ridiculously powerful and bludgeoning and it gets you headbanging right off the bat.


This new offering is a great death metal record that any death metal fan should have on their shelf. You can’t go wrong with Aenigmata as it provides you with everything you could want and ask for in a death metal release.





Taking their sound to it’s fullest extent, Hungarian old-school death metallers Sin of God have fully explored their devastating blend of traditional old-school death metal and a more technically-challenging grind to become one of the fiercest groups in their homeland. Now after four years of intense touring that has taken their work to a new level, the group prepares it’s second full-length effort September 23, 2016 on a co-release with Satanath Records and Murdher Records.


Carrying on from their previous releases, the group’s main attack here is a predominantly old-school approach that brings about the hard-charging chugging characterized by the US scene with a slew of ravenous, deep swirling riff-work that effectively evokes the churning atmosphere found there. As the tight, densely-packed riffing is given a rather blistering tone here with the full-tempo series of pounding drum-blasts and the charged, fiery technical riffing packed into it that manages to bring about the dynamic intensity along through the rhythms. The way this changes up between the tight, frantic and utterly blistering rhythms while still maintaining a strong, ominous mid-tempo lurch along throughout the tracks here while still managing that heavy, vicious energy is where this one really scores incredibly well here by offering up the burning technicality that charges along while still keeping the old-school tones present in utterly dominating fashion as the variety here is incredibly dynamic and manages to give this such a dynamic charge that there’s very little about the bands’ attack to dislike overall. The only issue that crops up within this one is the fact that the album’s got a remarkably low tone in which the guitars are recorded in, and though it’s dynamic, tight and crunchy there’s places where it tends to turn into a rather indecipherable blur of heavy buzzing rhythms that doesn’t become a detriment but is somewhat distracting with the way it causes them to come off. Still, there’s little else about this release to really cause an issue with.


Frankly this turned out to be quite the impressive and wholly dynamic offering that brings about many great positives and not a whole lot of issues here which are mostly just brought up by the production rather than any part of the music itself which really makes this such an intriguing choice for fans of old-school technical death metal or just old-school death in general.





Hungarian death metal band Sin of God has just officially planted their flag at the top of the death metal mountain! Holy shit are these guys awesome. The new album Aenigmata is a fierce, brutal and just plain brilliant work of metal. They take what death metal bands like Morbid Angel and Cannibal Corpse and Behemoth have been doing for years and amp it up 100%. The vocals are dark, scary guttural, evil and yet still melodic and understandable. The guitars have such an awesome classic metal sound heard in their heavy riffs and seizure inducing fast leads. The drums are some of the most intense and fastest I’ve ever heard. Dare I say, they could rival the drum God Hellhammer! Song after song they beat your brain into oblivion and leave you completely worn out by the end of the album. I love death metal both past and present but I must say Sin of God is now my favorite death metal band. These guys are the real deal. They don’t try to copy anyone and they don’t try to reinvent the wheel they just belt out true death metal. Aenigmata is truly one of the best death metal albums to come out in decades. It is a must have.





Gondolom, nem csak én vagyok egyedül azzal a mindenki számára már ismerős érzéssel, amit egyszerű földi halandókén át lehet érezni egy Sin Of God albumának a kapcsán. - Legtöbbször a hajnali, illetve koraesti órák a legalkalmasabbak arra, hogy az ember félrevonuljon és átadja magát az önfeledt zenehallgatás mámorának. Ilyenkor az embert szinte felkészíti a nap kihívásaira vagy épp’ ellenkezőleg annak utolsó lecsendülésével álmot hoz a szemre. – No, de egy Sin Of God album esetében? Leginkább libabőrös lesz az ember háta a lemez szinte minden egyes percétől. Persze mindennek tetejébe a várva várt Aenigmata album még rátesz egy lapáttal.

Az albumnyitó The Emerald Tablet lassan hömpölygő sűrű iszapként vonul végig. Egyszerűen csak belekapaszkodik, s már rántja is magával a gyanútlan zenehallgatót. Nincs menekvés, csak csontig hatoló, égető fájdalom. – Csak halkan jegyezném meg, hogy első meghallgatásra kellett egy pár percnyi néma csend, mire képes voltam újból nekigyürkőzni a lemeznek. – S nem csak azért, mert szeretek szenvedni.

Azt már régóta tudom, hogy egy jóféle death metal-hoz megkérdőjelezhetetlen a stílusra jellemző hangulat és a megfelelő hangszeres tudás, aminek hiányában kár is magasba emelgetni annak zászlaját. Szóval, hagyni kell azt a profikra. – Szerencsére az ambrózfalvai srácok tekintetében nem lettünk elhanyagolva a fenti alaptételeket tekintve semmiből sem. Sőt! A Phosphorus nótát hallgatva azonnal eszembe jutott az unalomig körbejárt téma, hogy miből is áll egy zenekar? Mi másból is, mint zenészekből és a dobosból. – Ráadásul Botyánszki Balázs (propeller) dobjátékát tekintve nem kisebb név jutott, mint Gene Hoglan bácsié. – A végeredmény egyértelmű: a gitárok tüzes láncként vágják át a húsunkat, míg a dobos blast-jai tökéletesen kikalapálják a maradék észt is a fejünkből, de teszik mindazt csak azért, hogy a nóta szólótémája hamuvá égesse el a lelkünk megmaradt darabjait. Elvesztem.


Ismerve a zenekar eddigi koncertteljesítményét szerintem egy elég jó választás lehet élőben előadni az Ignis Infernalis nótát. Egy, a késő esti órákba nyúló fellépésen biztos bástyaként állna egy „mészárlás” alapjaként, mert mindazok ellenére, hogy már jól ismerjük(?) a S.O.G. nóták megoldásait, de azért egy ilyen leosztásban előadva még a legedzettebb „halállovagokat” is könnyen a padlóra küldheti egy ilyen balhorog.

Amiért mindezek mellett még külön köszönet is jár, az nem más, mint az az aprócska tény, hogy a folyamatos súlyosság és brutalitás fenntartása mellett a zenekarnak még volt ideje figyelni arra is, hogy miként fektet igényt a dallamosság jelenlétére. Sikerült a fülbemászó témákkal többszörösen újrahallgathatóvá tenni a lemezt. - Nem lenne igaz, ha itt nem jegyezném meg, hogy a Loss Leads Into Impiety dalocska hallhatása közben minduntalan olyan zenekarok nevei kavarogtak a lelki szemeim előtt, mint a Morbid Angel, Nile, de akár ide sorolnám még a lengyel Behemoth-ot is.


Azért ne ijedjen meg senki, ha a címadó Aenigmata-ban már hírmondója sem marad ezeknek a „hatásoknak”. Egyértelmű, hogy nem az ismétlésre való kényszer mozgatja az alkotókat, hanem egész egyszerűen csak képesek a hatásaikat túllépni. - Bár ilyenkor óhatatlanul felmerül a kérdés, hova lehet ezt még tovább fokozni. – Ahogyan esett szó a zenekarral kapcsolatban a dallamfűzésről, úgy itt meg kell jegyeznem, hogy az előadásmódra sem lehet semmi panaszunk. Egyértelmű, hogy az évek, s a zenekari rutin beigazolódni látszik. A zenekart ideje nemzetközi mércével méretni, ehhez pedig a külföldi deszkákon nem is lehetne jobb választás, mint az Altered States Of Chaos. Nyilván a Vader-es hangulatot árasztó Deus Metamorphosis is egyszerűen annyira sűrű anyag, hogy lenyomata sokáig meg fog maradni a lelkekben.

Szerinted mit kapsz, ha a Behemoth-ot összeturmixolod a Morbid Angellel? Nos, ha nem is ilyen vérprofi leosztásban, mint ahogy a Sin Of God teszi, de közel hasonló anyagot kaphatnál, mint a The Great Lion Devours The Sun. – Már-már annyira slágeres a nóta, hogy M.Z. törvénytelen hangja a garancia arra, hogy végleg az elménkbe kalapálja a zenekar a nóta mondanivalóját.

Sok zenekari album van, ahol a végére nagyon „el tud fáradni” a zenekar, s így a végére érve előkerül valami időhúzós téma. Nos, a The Human Worm tétel nem ebbe tartozik. – Nem is értem, hogy miként sorolták az album végére ezt a nótát. – Igazi gyűlöletbomba szakad a nyakunkba. Ráadásul egészen galádul. Előbb szép lassan, majd ahogyan illik, az egész pokoli kakofóniába csap át, hogy jobban hasson. – Ezek után reményekkel teli lehet az a tudat, hogy az album végére nem marad más belőlünk, mint a pengék közé szorult maradék húspép. Azt pedig megjósolom, hogy a nóta tuti, hogy a régi Morbid Angel fanok nagy kedvence lesz.


Ezek után mit is lehetne az Aenigmata-ról még elmondani? Ez egy igazán erősen ajánlott hazai termék. – Kell majd egy ilyen brand - mert nincs semmi kivetnivaló, sem hangzásban, sem minőségében. Szóval, megpróbálok egyszerűen fogalmazni: Uraim, egy 2016-os death metal lemeznek így kell megszólalnia.


A kétkedőknek meg csak annyit: Nézzék meg élőben a srácokat!





Brutální napadení v temné uličce. Viděl jsem stín, lehce opilého chlápka, který se motal směrem domů. Pak se od stěny odlepila postava s něčím ostrým v ruce. Do tmy se zablýskla čepel dlouhého nože. Šlo to ráz na ráz. Několik bodných ran, rozdaných v zuřivosti. V dálce zaštěkal pes a někdo přidal hlasitost na televizi. Běžná noc v obyčejném městě. Jenom ráno, až půjdou první nevyspalí lidé do práce, se ozve na stejném místě jekot. Nalézt mrtvolu takhle brzy není rozhodně nic příjemného.


"Aenigmata" je druhým dlouhohrajícím albem maďarských brutálně technických death metalistů SIN OF GOD. Opravdu mi připomíná, svým nasazením, temnou atmosférou i celkovým vyzněním, nějaký ošklivý násilný čin, který se stal kousek ve vašem sousedství. Novinka je hodně syrovou deskou, nahranou snad někde ve staré márnici. Technika se potkává s jadrností a výsledkem je materiál, který doslova zabíjí. Klasika, ale opracovaná zkušenými řemeslníky.


SIN OF GOD hrají hudbu inspirovanou IMMOLATION, KRISIUN, MORBID ANGEL. Nezapomínají na klasické, rychlé a hodně návykové pasáže, ale nebojí se ani zvolnit a nechat vyniknout temnotu. Celkově se jedná o velmi solidní smrtící práci, i když samozřejmě pořád v rámci stylu. K žádným přesahům, ani výletům do jiných vod nedochází. Jsem tomu rád, protože mě nic nikde neruší a mohu si všechno to zlo plně vychutnat. Nebál bych se říct, že jsou pro mě tihle maďarští maniaci takovým malým soukromým objevem. Líbí se mi krvavá atmosféra zmaru, kterou z jejich tvorby cítím. Nic převratného, ani objevného, ale je cítit velká energie a oddanost temnotám. Tohle album beru všemi deseti. Skvěle odvedené řemeslo!




SIN OF GOD nám letos předkládají pořádně hnilobný náklad syrového masa. Brutální death metal v jeho klasické podobě zde zní velmi chytlavě a napínavě. Tradiční riffy, surový zvuk, houpavý rytmus dělají z nahrávky pořádně krvavou hostinu. Vítejte na zakázaných jatkách. Mistři řezníci zvládají svoje řemeslo nadmíru dobře. Nečekejte nic převratného, ale dobrou práci, kterou pánové opravdu umí odvést. Po stěnách stéká krev, někdo zase přinesl motorovou pilu a všichni amatérští patologové se usmívají. Dneska mají svůj velký den. Hudba je vhodná pro pitevní sály, pro operace bez narkózy i pro všechny ty, kdo se rádi bojí u hororů. Skladby doslova mokvají, cáká z nich hnis a morbiditě se meze nekladou. Osobně jsem si tenhle syrový death metal užil dosytnosti. Pokud máte rádi tradiční hodnoty ve smrtícím kovu, buďte vítáni. Dobrá a pořádně krvavá deska, která se opravdu povedla!


Asphyx says:


SIN OF GOD gives us a very purid load of a raw meat this year. The brutal death metal in its own classic form which sounds very catchy and dramatic. Traditional riffs, raw sound, swing rhythm makes those records very bloody dinner. Welcome to forbidden slaughterhouse. The mister butchers know very well how to do their job. Do not expect anything special or unusual, however this is a very good piece of work. There is a blood running down the walls, someone brought a chainsaw again and all of the amateur pathologists are smiling. Today is their big day. This music is great for a dissecting room, for operation without an anesthesia, for everyone who likes to be scared while watching horrors. These songs are weeping, there is a lot of septic and there are no boundaries in case of morbidity. I really enjoyed this raw death metal. If you like the traditional merits in death metal, you are welcome. Good and very bloody album which is very good!





Sin of God is opgericht in 2004 in Ambrózfalva, Hongarije, maar bestaat eigenlijk al vijf jaar langer. In 1999 ontstond Dezormon, waarvan deze band een voortzetting is. De bedoeling was altijd al om harde, felle en brute death metal te maken. De band speelde veelvuldig live in het thuisland, en deed dit jaar pas z'n eerste Europese tour met het Portugese Holocausto Canibal. Aenigmata is de meest recente release van de band, hun tweede full length, opvolger van het in 2012 verschenen Limbus. Daarvoor verscheen in 2010 een EP met de titel Embryo.


De muziek van de Hongaren ligt ergens tussen traditionele death metal en meedogenloze brute en technische death. Last Sin laat weten geïnspireerd te zijn door de occulte geschriften van de alchemie en de afbrokkeling van het geloof in de mensheid. Uiteraard levert dit een lekker donker hoorspel op, met death metal die doet denken aan die van bijvoorbeeld enerzijds Morbid Angel en Immolation, maar ook woestere en modernere bands als Nile en Behemoth.


Snelle riffs en dito drumwerk bepalen het geluid van Sin Of God, samen met - uiteraard - een verwoestende grunt. Om maar meteen een open deur in te trappen (nu we toch lekker gewelddadig bezig zijn): de gruwelijke doodsmetalen uitingen van deze band zijn ongetwijfeld verre van origineel, maar de uitvoering is zo retestrak dat de muziek absoluut het aanhoren waard is. De donkere thematiek komt perfect tot uiting, terwijl de band zich echt niet beperkt tot simpel hak- en beukwerk. Natuurlijk is dat ook wel aanwezig, maar daarnaast zit de extreme muziek gewoon goed verzorgd en technisch onderlegd in elkaar.


Ik snap dan ook niet waarom Sin Of God niet op uitgebreidere schaal bekend is. Of dat ligt aan mij, dat kan natuurlijk ook. Hun death metal is authentiek, enerzijds technisch, anderzijds op bruutheid gericht. Daar moeten toch zeker liefhebbers voor zijn? Ik zeg: luisteren! Te beginnen hier onder met Phosphorus:




This band from Hungary is a fine example for persistence that pays off some day. After more than ten years and two demos, SIN OF GOD released their first EP in 2010 and the first full length “Limbus” two years later. Another four years passed by that lead to a deal with the very active Russian label Satanath Records, who released the new album “Aenigmata” in co-operation with MurdHer Records from Italy. And it seems the long break was not bad for SIN OF GOD, since the band from Ambrózfalva used the time to improve both their skills and their compositions. This lead to an album that should please any lover of technical Death Metal. Complex songwriting and technical abilities are the characteristics of “Aenigmata” that strike the eye. SIN OF GOD can't deny the influence of the technical school of US Death Metal. Bands like IMMOLATION and even NILE are the ones that come to mind, in some moments it's also CARCASS or KRISIUN. Those names aren't that bad as a reference, and SIN OF GOD are smart enough to use these influences to create a sound that is not a mere copy. The whole album keeps a constantly high level and is thankfully not too long, since a style like theirs is very demanding in the long run, at least to someone like me who is more into straight and banging stuff. But the humble opinion of a simplicity loving guy like me shouldn't keep an aficionado of technical stuff from checking out SIN OF GOD at www.facebook.com/sinofgodhu or http://sinofgod.bandcamp.com. For the labels, visit either www.satanath.com or www.facebook.com/murdherrecords



Les Hongrois SIN OF GOD ne sont pas des novices puisqu'ils traînent leurs guêtres au sein de la scène locale depuis plus d'une décennie. Plus de dix années consacrés à élaborer un death metal traditionnel et technique, qui saura aussi bien régaler les amateurs d'embardées brutal death à l'américaine gorgées de solos que ceux qui ne jurent que par leurs petits copains du grand Nord aux aspirations plus mélodiques…un must !





Sin of god je death metal sastav koji nam dolazi iz Mađarkske. Iza sebe imaju dva izdanja i aktuelni album ''Aenigmata'' koji su izdali 2016. godine pod etiketom Satanah records-a iz Rusije. Bend čine: Zoltán Molnár (vokal) , Zoltán Borka (gitara), Csaba Sándor (bas), Balázs Botyánszki  (bubanj), László Páll (gitara)



''Aenigmata'' je album na kome obiluju brutalni death metal rifovi koji su ista tako i dovoljno melodični, pa nisu samo neka neartikulisana buka. Ritmički brz ali i u datim momentima spor, pa baš zbog tih sporih delova album odiše atmosferom i prijatan je za slušanje i onome ko ne preferira previše ovaj pravac. Posebno mi se sviša što na albumu previše nisu davili sa solažama, već su se trudili da trajanje pesama nadomeste morem teških rifova. Pesme koje bih izdvojio su: Phosphorus, The Great Lion Devours The Sun, Deus Metamorphosis.





История венгерской банды SIN OF GOD довольно забавна, и в то же время вдохновляюща. Когда-то коллектив назывался DEZORMON, выпустил дебютное демо, дал первые концерты… и был в пух и прах разнесён местным Metal Hammer. Демка получила уничтожающую критику, а выступление группы на одном конкурсе получило символическое 9 место из 8. Однако эти «успехи» не сломили дух группы. Всерьёз занявшись освоением инструментов, она вскоре вышла на совершенно новый уровень скорости, техники и мышления. Дабы отречься от позорного прошлого, формация изменила название на SIN OF GOD. Пара демок, миник — и вот выходит дебютный альбом «Limbus», демонстрирующий неподдельный прогресс. А мы с вами сейчас рассмотрим уже второй альбом группы, «Aenigmata».


«Aenigmata» — это, преимущественно, скоростной техничный дэт, где техничность подразумевает под собой умение умение очень быстро и чётко играть простые фрагменты, а не выкручивать себе пальцы и пудрить слушателю мозги изломанными структурами. Песни имеют чётко слышимую основную линию, внутри которой создаются различные хитросплетения — в умеренном количестве, дабы не отвлекать от главной мысли. Музыка крайне напориста, интенсивна, однако в хаос не превращается, что мне очень нравится. При сильном сходстве с поздними BEHEMOTH, венгры не занимаются пустой долбёжкой. За это отдам им должное — они умеют играть песни в такой музыке уже на втором альбоме, а поляки научились этому лишь на «Evangelion». Впрочем, сравнение с BEHEMOTH не совсем правильное. У поляков был один чёткий ориентир — MORBID ANGEL, а у венгров их будет побольше. NILE, ORIGIN, SUFFOCATION тоненько размазаны по их музыке. Вполне проводимы параллели и с нашим VELD — не в смысле вдохновения друг другом, конечно. Однако наиболее заметное влияние оказали итальянцы HOUR OF PENANCE. Вот уж с кем SIN OF GOD можно реально перепутать. Венгры чуточку менее безбашенные, но имеют тот же стиль игры, построения композиций, вокала… и по звуку, надо сказать, почти не уступают именитой итальянской банде. Я слышал не так уж много альбомов из Венгрии, и большинство из них было намеренно архаичным блэк-металом, но всё же мне кажется, что такой мощный саунд для группы из этой страны нехарактерен. Денег и труда явно было вложено немало. То же самое можно сказать об оформлении. Сильная обложка от индонезийского художника Bvllmetalart, 12-страничный буклет во всех смыслах превосходного качества. Дизайн буклета заслуживает всяческих похвал: он простой по структуре, но крайней стильный во всём, вплоть до мельчайших элементов. Если взять какую-нибудь моднейшую новинку в джевеле от Nuclear Blast и поставить рядом с «Aenigmata» от Satanath и Murdher Records, убрав реквизиты лейблов, вы вряд ли догадаетесь, что издано мажором, а что дуэтом несопоставимых по масштабу контор. И это прекрасно — всегда надо стремиться к высшему качеству релизов, а не выпускать копеечные подтирки, объясняя такой подход «андеграундностью» (привет Нигилистическим Искусствам и Тёмному Востоку!). Особенно когда альбом этого реально заслуживает. «Aenigmata» — действительно классный, первосортный дэт-металлический альбом. Радует, что Satanath Records, приближаясь к третьей сотне релизов, начал более щепетильно подходить к выбору альбомов на издание. Ну и комплимент в адрес Murdher Records: этот молодой лейбл, определённо, знает толк в хорошем смерть-метале. OCULTAN, QUEIRON, MADNESS, а теперь и SIN OF GOD — это всё не какие-то замухрышки.




Die Russen Sin of God gibt es, wenn man die Zeit unter dem Namen Dezormon mitrechnet, bereits seit gut 18 Jahren. Das ist eine ziemlich lange Zeit, wenn man bedenkt, dass in dieser Zeit erst 3 Alben das Licht der Welt erblickten, 2 davon in den letzen 5 Jahren. Ihr neuster (und damit dritter) Streich nennt sich „Aenigmata“ und lässt erahnen, dass die Band eher auf Qualität als Quantität setzt.


Das Album geht von Anfang an in die Vollen und überzeugt durch seinen klaren Sound, der jedoch hier und da einige Ecken und Kanten zulässt wodurch der facettenreiche Death Metal der Russen sich richtig entfalten und vor allem ordentlich drücken kann. Und besagter Death Metal kommt nicht gerade in der verdaulichsten Form daher, denn die Band kombiniert aggressiven Brutal Death mit einer gehörigen Portion Technical Death und scheut dabei auch nicht davor zurück immer wieder in Grindcore-Exzessen zu eskalieren. Donnernde Blasts dominieren und fordernde, rasante Riffs formen die Songs zu aggressiven Monstern, die nur selten zugunsten einiger eher gediegen melodischer Riffs das Tempo drosseln und sich ansonsten eher in hoher Geschwindigkeit, allerdings mit viel Groove durch das 40-minütige Album ziehen. Auch schafft es die Band stetig die Brücke zwischen Old- und New School zu schlagen und so das Album frisch zu bekommen. Auf diesen donnernden Hagel an Riffs und Blasts setzen sich die tiefen Growls von Sänger Zoltan, die allein ausreichen um Palastmauern zum Beben zu bringen und zusätzlich zu den kraftvollen Riffs Energie und Aggression einfließen lassen, was letztlich dazu führt, dass man an die nächste Wand gepresst und mit offenem Mund aus dem Album entlassen wird.


Sin of God liefern mit „Aenigmata“ ein unglaublich kraftstrotzendes Album, dass durch seine rohe Gewalt und technischen Ansprüche sicher viele einfach überrollen dürfte. Diejenigen, die es jedoch verschont, kommen in den Genuss eines verdammt fetten Death Metal-Brett irgendwo zwischen Abriss, Groove und vereinzelten Melodien. Kompromisslos gut.





There's always dark spaces within the world that no-one dares to go, yet you can't help but let curiosity get the better of you. There is a dark presence in Hungary in the form of SIN OF GOD and they come armed with their evil abomination “Aenigmata”.


Their treacherous tale began in the year 2009 in the town Ambrózfalva, Hungary. From looking at pictures alone, it seems like a peaceful, quaint town; certainly, no chance of a Death Metal band ever coming from this part of the woods. It goes to show that you shouldn’t judge a book by the covers and there could be a layer that we aren’t often exposed to. In this case a charming town being the breeding ground of a Death Metal band, the irony is rather marvellous.


On their Facebook, they claim they have a powerful sound that carries across all their instruments. The album is concrete evidence that this is correct; it gives you more than a wakeup call with as it starts with opening tracks “The Emerald Tablet” and “Phosperous”. The prevailing vocals and finger blistering guitar techniques do a lot more than send chills down one spine.


As the album progresses it grows deeper and darker, it is a destructive weapon that unleashes darkness where ever you happen to be and wants to drag you to hell with it.

Critics of Death Metal often say it all sounds the same and you often can't understand what the vocalist is shouting/growling/screaming. If you listen to a good act like this one you can often hear many more elements to their sound and some good tunes within the sound. There is something in each track that makes each one sound a little different to the last track.


If you are after an album that’s full of aggression, chaos, and mayhem then SIN OF GOD’s “Aenigmata” is the album for you.





"Aenigmata" je prošlogodišnje, peto po redu, izdanje mađarskog tecnhical death/grind benda "Sin of God". U nešto manje od 40 minuta se može čuti sve ono što je fanu ovakvog žanra potrebno: brza, precizna svirka, duboko-pakleni growl vokali, zakivajući bubnjevi, besni rifovi i produkcija koja iz svega nabrojanog izvlači ono najbolje. E, sad, da budemo iskreni: ovakvih bendova ima mali milion po celome svetu i svi oni nude manje-više izdanja sličnog kvaliteta. No, kada se ovaj album nađe na vašoj plejlisti, teško je pritisnuti "stop" i slušati nešto drugo





Ungheresi di origine, i Sin Of God sono al secondo album dopo il debutto del 2012 (anche se il gruppo esiste pensate dal 2004!). Il loro è un death brutal molto pulito e tecnico. La batteria è in costante fibrillazione, ma su tutti gli strumenti troneggia la possente voce del cantante, un buon compromesso tra ugola brutal e cantato death. Le chitarre, pur intagliando riff semplici, sono incisive e ben costruite sul soppalco creato dalla controparte ritmica. Le tracce sono nel complesso tutte riuscite, non ci sono tappabuchi. Certo, non siamo ai livelli di Morbi Angel e soci, ma penso che il genere proposto sia uno dei più ostici da affrontare se si vuole fare qualcosa di innovativo. D’altronde se non ci fossero gruppi così, pronti a portare avanti un verbo tanto antico quanto affascinante, ora probabilmente saremmo orfani dell’intero genere… Integralisti.





Sim, vocês não leram errado ! Se tem um nome que os amantes do Death Metal técnico precisam memorizar, esse nome é Sin Of God. Essa banda húngara surpreende do começo ao fim com o seu mais recente lançamento “Aenigmata”, o segundo da carreira. Seu som nada mais é do que a mescla exata/perfeita da técnica instrumental de um Nile com a brutalidade sardônica de um Vader. Em outras palavras, é uma OBRA DE ARTE COMPLETA !


Ao longo do disco, percebe-se também pontos de semelhança com o disco “Lucifer Incestus (2003)” do Belphegor, devido a atmosfera torturante e absurdamente veloz que os caras proporcionam. São blast beats incessantes e guitarras sanguinolentas combinadas com um gutural devastador que até mesmo acorda Satã para lhe fazer companhia. Um detalhe interessante foi que acompanhei algumas faixas do seu disco anterior “Limbus (2012)” e pude perceber que os caras já nasceram com o “pezinho” realmente no Inferno, e diante disso, com Aenigmata, estão cem vezes mais brutais.


As faixas são todas perfeitas, sem desmerecer nenhuma.


Disco indicado para quem for fã das bandas/hordas mencionadas acima. Preparem-se para acordar a vizinhança toda. RECOMENDADÍSSIMO !!!





Morrisound Studios in Tampa, Florida did set the sound on how Death Metal was about to sound in the early '90s and the bands roaming from that era are some of the biggest around today still - and I am thinking of bands as SUFFOCATION, OBITUARY and SIX FEET UNDER as fine examples. And then, on the other side of the Iron Curtain, another type of bands also broke through and created a very characteristic sound; the ultra fast but still very clean and precise. Leaders of this wave are VADER and BEHEMOTH. So, if mix these two worlds, you’ll get Hungary’s SIN OF GOD. There is much of the classic Tampa sound in their music but also a touch of the more technical and clean arrangements too.


And the mood is set with the first song, the forceful “The Emerald Tabled”, that sounds mean and brutal. What struck me right away was the band’s technical skills and the drive in how their playing. Balázs Lévai’s vocals are a little bit dark and rough for my taste but as a whole they still work fine. It’s one more step higher with “Phosphorus” and with this SIN OF GOD really have captured my interest. I’ve gotten away from the really brutal music lately but this record, “Aenigmata”, SIN OF GOD’s second LP, reminded me why I like this style of music.


And I really like when there are super fast drums, the triggered sound works really fine here, topped with a heavy and rather slow and melodic music piece, as in “Loss Leads Into Impiety”, technically it’s flawless and it sounds awesome. The album’s title track is an epic with the breaks and passages mixed with more old-school Death Metal. It might feel shattered when describing it but it all works. You got to love the pretentious title of “The Great Lion Devours The Sun”. The song is a real smack in the face bearing the same raw brutality that opened the record. Also, tracklist closer “The Human Worm” is a run-over of grade. I love the wacko break in the middle of the song where it almost turns into Doom instead. Good groove and punch in the riffs.


There’s very little to complain about “Aenigmata”, it sounds damn good, both from a musical and production perspective. The songs are varied and technical and it took a few spins for the record to settle but that normally is a good thing as it grows for each spin. It’s only Balázs’ vocals that are a bit too harsh for my taste and, if being very petty, the guitars could have had a little more edge. But in general, it’s a solid Death Metal record and with this, I should go easily to it when digging out Brutal music.





Sok-sok évvel ezelőtt mikor volt szerencsém koncerten látni az akkori Sin of God legénységet, nem sokkal a megalakulásuk után. Azonnal szimpatikus lett a társaság. A zenéjük elég komplex volt és ment is az őrlés rendesen, de mégsem borult be a zene a zajtengerbe. Sajnos sok technikásabb death metal zenét az tesz unalmassá koncerten, hogy az apró virtuózitások eltűnnek és a színpadról csak egy statikus zajtömb esik a hallgatóságra, ha egész véletlenül nem sikerül stúdió szintűre beállítani a hangosítást és a közönség sem kóricál el a nekik kijelölt fehér X-ről.


Ezeket a hátrányokat egy pompásan kevert lemezzel lehet ellensúlyozni.


Tehát a jó alap megvolt és bíztam benne, hogy hamarosan korongba öntik mindazt, amit hallottam, hogy teljes valójában is meghalljam a zenéjüket. Ehhez képest az első Ep-re 6, az első albumra 8 évet kellett várni (ami amúgy zseniális lett). Utána megint hosszú csend. Már le is mondtam a zenekarról. Így egészen váratlanul került elém az új album, a tagcserék képében némi vérfrissítésen átesett kompániától.


Na, most itt jegyezném meg, hogy ha ez után a lemez után a következőre is ennyit kell várni, minimum kinéz egy lenyomozhatatlan sorozatszámú rozsdás ösztöke használata. Ugyanis nem tudom minek kellene történnie, hogy év végén ne legyen nálam minimum a hazai top3-ban a lemez. (igaz tavalyi megjelenés, de hozzám csak idén ért el) A teljes Aenigmata album a cikk alatt meghallgatható.




Lássuk mivel is bírtak rá ilyen felelőtlen kijelentésekre így az év elején:


A borító nagyon klassz és egészen Indonéziából érkezett a Bvllmetalart-tól, akik amúgy ontják magukból a gyönyörűséges, 90-es éveket idéző, brutális borítókat. Ez a mostani sokkal direktebb lett, mint a Lingusé volt. Fordított keresztek erdejének tövén oszló tetemek. Van benne jó adag old school érzet. A booklet belseje is hibátlan a maga egyszerűségében.


Korábban írtam párszor, egy-egy lemeznél, hogy nem a fő kedvencem az adott zenekar stílusa. Most viszont nagyon beletaláltak a srácok. A zenei térképen valahova a Behemoth – Thelem 6-ja és az Immolation - Close to a World Belowja közé helyezném. (nem rossz referenciapontok, ugye?)


A The Emerald Table sokat sejtető introszerűséggel kezdődik. Aztán beindul a gőzhenger. Nem is az a hagyományos értelemben vett vérben kajakozás. Attól ötletesebb, hogy csak úgy öncélúan legyen brutális. Az hogy mekkora röss van a zenében mégis, azt jól mutatja, hogy én két-három percesre tippeltem a dalt, de majdnem öt perces!


A Phosphorus is csak úgy dobálja egymásra az ötleteket. Igen erősen az általam nagyra tartott NWOPDM területén mozog (New Wave Of Polish Death Metal). Ez a dal meg úgy ahogy van felférne egy Vader lemezre. A gitártémák reszelnek, de dallamosak, nem szétagyataltak, de mégis irtózatosan hangulatosak.


Ignis Infernalis...Illuminate Us. Hát ez is, milyen kezdés már? Ez már egyszerűen nem fair. Szerencsére nem csak egyféle hörgős ének van végig (ami amúgy teljesen rendben van), hanem cifrázzák itt ott. Itt is a visszhangos betétektől monumentálissá vált a nóta.


Botyánszki Balázs dobolása is megér egy külön bekezdést. Nem az van, hogy van egy kis ötletelés a számok elején aztán blastbeat orrvérzésig. Végig, kitalált, felépített, változatos. Rengeteget hozzáad a zenéhez. Nem is tudom, volt-e olyan 20 másodperc amikor végig ugyanaz a téma ment.


Ami nagyon fontos, a számok nem folynak egymásba, felismerhetők, vannak saját témáik. Bár tempóban nem olyan nagy a kilengés, közepesen gyors végig a lemez.


A címadó szám tartja talán a legnagyobb átlagtempót, de az is megáll néha néha, hogy komótosan beletaposson a betonba..


A Great Lion Devours the Sunban és a Deus Metamorphosisban is van egy apró kis gitár-díszítés ami azonnal felismerhető.Gyakorlatilag bármelyik dalt kiemelhetném. Nemhogy gyenge dal, gyenge perc sincs a lemezen.


Ha mindenképp rá kéne bökni egy csúcspontra a lemezen az nálam az Ignis Infernalis...Illuminate Us lenne. Abban minden benne van, amitől ez a lemez ilyen nagyszerű lett.





Il progetto ungherese, Sin Of God, nasce nel 2009 e si dedica fin da subito ad una decisa direzione, ossia il death metal più duro, brutale e puro nella sua essenza. Il quintetto, dopo un primo EP autoprodotto (chiamato Satan Embryo), datato 2010, pubblica nel 2012 il primo album a nome Limbus. Il 23 settembre 2016 esce il secondo disco della band, ovvero Aenigmata, LP che punta ad una soluzione sonora sempre più violenta e distruttiva dove poco spazio viene lasciato alla melodia, immergendo l’ascoltatore in un vortice di crudeltà e ferocia strumentale.


L’album, va precisato, punta a soddisfare principalmente gli appassionati di death metal più genuino ed incontaminato. Non ci sono contaminazioni o altri generi che si insinuino nel tessuto sonoro creato dai cinque musicisti. Questo da una parte può essere un limite, ma più che altro un album di questo tipo, rischia di perdersi nell’infinito turbine di bands, che popolano la scena. Qui si trova una tecnica sicuramente notevole, specie nella sezione ritmica (si ascolti ad esempio “The Emerald Tablet”, traccia che inizia lenta per poi deflagrare come un possente boato, grazie a chitarre affilatissime e voci demoniache, sorta di tributo ai Cannibal Corpse) che si dimostra sempre devastante e dinamica. Vi è la presenza anche di brani più ragionati come “Ignis Infernalis”, brano che riporta alla mente un altro pezzo di storia del death metal, cioè i Morbid Angel e che fonde tecnica e furia in maniera sicuramente convincente. Il gruppo riesce sempre a tessere trame elaborate senza mai risultare troppo ostico da digerire (“Loss Leads Into Impiety”) riuscendo anche ad inserire delle melodie (non certo banali) negli assolo, tra chitarre malvage e mitragliate di batteria (“Phosphorus”). Uno dei punti a favore, ma anche forse a sfavore, è l’essere un disco statico, dove c’è troppa somiglianza tra i brani, che si mantengono sicuramente su una linea qualitativa più che buona, ma non riescono mai ad emergere completamente (ad esempio i brani “Deus Metamorphosis”, “Altered States Of Chaos” o anche la stessa titletrack). La produzione è sporca al punto giusto, valorizzando al meglio gli strumenti e le vocals distruttive, ma alla fine la sostanza non cambia.


Aenigmata è un buon disco di metal “brutto, sporco e cattivo”, votato alla violenza sparata a tutta velocità, senza lasciare un momento di respiro. Tecnicamente ineccepibile ma che pecca nella costruzione dei brani, troppo simili l’uno all’altro. Il mordente comincia a calare già dopo i primi brani, facendo perdere l’interesse troppo presto, specie per chi non è tanto avvezzo a tali sonorità. Un disco di genere, per appassionati del genere. Se si ama il death, si amerà questo disco, per quanto riguarda gli altri, lo apprezzeranno fino ad un certo punto.





É muito bom podermos fazer este trabalho. Realmente gratificante principalmente quando temos uma banda como Sin Of God a apresentar-nos uma dose muito forte e concentrada de death metal bruto dos queixos. "Aenigmata" é, além um jogo bem conseguido de palavras, uma bujarda de death metal épica. E quando tempos bujardas épicas quer seja o estilo, é impossível ficarmos indiferentes ou questionar-nos se é original ou não. Acreditem que o pensamento não nos passou pela cabeça a não ser para escrevermos esta breve análise. São nove temas que nos podem remeter para aquilo que os Morbid Angel fizeram no seu "Gateways Of Annihilation", um álbum desvalorizado de maneira criminosa. Técnica e potência em algo que qualquer fã de death metal terá ansiedade para pôr o seu pescoço à prova.



Węgrzy z Sinf Of God grają wysokoenergetyczny death metal, a gdy ich riffy uderzają w nasze bębenki słuchowe, ma się wrażenie, że to sam Attyla prowadzi dzikie hordy, pozostawiając po sobie usiane trupami wrogów pola zagłady. Na albumie Aenigmata muzyka podana jest w techniczny sposób, z mocą, ale i z głową. Kapela dobiera różne odcienie z palety death metalowych barw, nie ograniczając się do jednego czy dwóch patentów, ale też nie wydziwia i nie sili się na wątpliwe eksperymenty. Dzięki temu najnowsza płyta Węgrów spodoba się miłośnikom śmierć metalu w klasycznej, brutalnej odsłonie, ale podanej w aktualnym anturażu.


Sin Of God nie owija w bawełnę, tylko od razu wykłada najmocniejsze karty na stół. Weźmy za przykład otwierający płytę utwór The Emerald Tablet – ciężki riff na początek, jakby wielka lokomotywa ruszała ospale, by zaraz się rozpędzić, do tego niski growl, soczyste gitary i trochę dźwiękowego oddechu na koniec. Wszystko to znamy, ale Sin Of God dodając do tego pierwiastek pasji, osiąga stylowy efekt. Intensywnie i technicznie wypada The Great Lion Devours the Sun. Znajdzie swoich amatorów świdrujący riff Ignis Infernalis… Illuminate Us, gdzie pojawia się też szeptany wokal, jakby blackowa atmosfera i mozaika zagrywek, nastrojów i zmian tempa. Podobnym miksem interesujących pomysłów jest The Human Worm. Wściekle, w stylu intensywnych dokonań Immolation wypada początek Phosphorus, który przynosi potem grobowe zwolnienie i klimatyczną melorecytację. Diabolicznie i mocno wybrzmiewa Loss Leads into Impiety, a kompozycja Aenigmata wypada nieco bardziej żwawo, skocznie wręcz (w ekstremalnych, deathowych kanonach), choć sporo tutaj gitarowych urozmaiceń i zwolnień. Może się też podobać atmosferyczny wstęp w Altered States of Chaos.


Album Aenigmata nagrany został z dużym szacunkiem dla klasyki. Sin Of God, biorąc z pełną świadomością znane death metalowe patenty, wrzucili je do miksera swoich riffów, przygotowując wysokoenergetyczny koktajl, który stawia na nogi każdego miłośnika rzetelnej śmierć metalowej roboty. Soczysta produkcja, podkreślająca moc i wysoką dawkę energii, nie wypada sucho ani zbyt sterylnie mimo swej przejrzystości. A zatem nasi bratankowie nie tylko „do bitki i szklanki”, ale również do wspólnego death metalowego gigu z czołówką polskiej sceny undergroundowej nadają się znakomicie.





Чего еще можно ожидать от группы с названием Sin Of God и уж тем более от альбома, обложка которого украшена кровавыми цветами и горой разлагающихся трупов? Конечно же, мощного, напористого и разъяренного брутала с сочным гроулом злобного фронтмена, с жужжащими, словно шмель, гитарами и иногда совсем чуть-чуть проскальзывающей мелодикой. И действительно, все перечисленное выше - это немаловажная, хоть и не главенствующая составляющая альбома "Aenigmata". Основными его фишками (или фаршем) все-таки являются техника исполнения, переплетения грамотных риффов и по-настоящему захватывающее разнообразие, которое при этом имеет свои границы и не замахивается на соседние берега. Ну, еще бы! Это вам не какая-то школота, которая, наслушавшись Deicide или Cannibal Corpse, решила тоже почувствовать себя звездами андеграунда. "Грех Божий" (именно так переводится группа) рубит аж с далекого 1999 года, хотя до 2004-го и скрывался бод другим названием. И были у них, как у всех нормальных музыкантов, и демки, и миники, которые, наверное, и слушать-то теперь не стоит, но на личный опыт, безусловно, очень повлиявшие. По-настоящему набрав в крови зла и ненависти, музыканты показали себя лишь в 2012 году через канадский лейбл PRC Music, а под конец 2016-го, уже благодаря отечественной и итальянской конторам, закрепили таки свой опыт наимощнейшим опусом. Сдали экзамен, можно сказать, и сдали его просто на отлично! Долго я вертел в руках этот диск, не осмеливаясь поставить в проигрыватель, о чем теперь даже немного сожалею. Чем можно было еще разбавить зимнюю скуку и нагнетающую апатию, как не хорошим дэт-металом? Но вот скучная зима наконец закончилась, серость отступила, хочется чего-то более возвышенного, оттого и сожаление, что диск был мной прослушан только сейчас... Альбом, что надо, венгры качают!





«Адские огни...», «Божество Метаморфоз»... 40 минут кошмарных излияний в виде дэт-грайнда. Венгерская дэт металлическая формация работает с 2004 года, и начинала, как водится, в самом тяжком жанре с демок — 2 штуки. Потом записали эпишку, и далее почувствовали, что способны на большее. Это был первый полноформат, изданный 5 лет назад. Долго собирались с духом, силами и прочим. И вот Satanath Records вместе с итальянцами Murdher Records запускает во тьму свежую работу Sin Of God. Для углубления (траншеи) биографии замечу, что, оказывается, еще за пять лет до основания сабжевая группа ...чила под другим названием — тоже дет металл. Но вот, например, по Sin Of God на архивах уточняют теги - текникал дэт / грайндкоре )). Сейчас все выясним и доложим.

Да, вполне так технично валит лесопарковую зону в венгерских окрестностях Sin Of God, прилично овладев струнными инструментами... В компании всего пятеро челов, по стандартной схеме два гитаро-пытателя, басист, ударник, вокалист. Гитариста — два, потому-то в группе решили давать им обоим время и место высказаться, представить то, что умеют, чему их жизнь научила. А те и рады стараться... каждый был бы доволен. Это все-таки не схема 4 или тем паче 3 музыканта.

Так что мы не удивляемся, что в каждой компо ребята раскрывают каждый раз новую стальную структуру, в которой затейливо расположен чеканно токарный узор, одновременно и привлекательный, и «ужасный». Потому и тэг #текникал припилен сюда. Хотя, уверяю вас, здесь нет перенаворота, когда гитарист решает обрушить на нас все свои занятия с первого курса консерватории по последний)). Иногда такое беснование звучит назойливо и в итоге бестактно. Sin Of God похоже знают про этот феномен )) и умело управляются со структурированием своих траков. Тоже надо уметь, знаете ли. Потому баланс чугунной тяжести и технического ажура соблюден верно. Это брутальный толковый тяжеляк, интересный, значительный и «мелодически» оформленный совершенно в стандартах нашего понимания дэт металла.

В целом ребята уверенно чувствуют себя как в мидтемпо, так и «побыстрее», так им способнее сочинять тяжелую музыку. Вот именно когда команда работает «побыстрее», тогда-то можно и назвать, видимо, их металлолом дэт-грайндом. Раз за разом, а здесь всего 9 траков, музыканты распиливают разные заготовки дэт металлического представления, задавая нам новые загадки относительно извлечения нового железного урагана из электрических розеток. Разгадывать эти загадки занятно, и потому ваше внимание будет целиком захвачено эквилибристикой Sin Of God.

Вокаллер формации выдает разные звуковые сигналы, самый основной - гроуло-харш - мощный и разборчивый, что удивительно, далее он любит выступать в низком гроулинге, и повыше - в харше, там есть и псевдочистый вокал, и типа агрессивного шепота. И это, кажется, не все Такая колонка вокалов, что я даже подумал, а не просмотрел ли в буклете еще одного исполнителя. Нет, не просмотрел, это все зажигает один вокалист — Lupus canis – по латыни, что означат волчара обыкновенный. Подходяще)).

Металлюги решили не экономить на звуке, и этого делать просто нельзя — все труды насмарку — потому диск звучит очень кайфово, плотно, с необходимым акцентом на верхних и шикарными низами, которые подкупят каждого обладателя колонок даже средней ценовой группы. Приятно, когда о тебе помнят и заботятся! Если уж зашел разговор, то сообщу, что посмотрел спектроанализатор — звукореж оставил самые высшие частоты выше 20кгц. Конечно их не слышно )), но звонкое железо ударных звучит просто на «отлично».




Hungary’s Sin of God play straight up death metal. With no tricks and very little fusion, most of the time these guys play pure death metal the way you liked it (or not) in the early 90s. Their 2016 release ‘Aenigmata’ is a good step forward production-wise from 2012’s ‘Limbus’ – the drums are much tougher and heavier sounding, while the riffs have more bottom end – but, essentially, it brings more of the same as before. If you like your death metal in a largely traditional style, this mightn’t be a bad thing.



‘The Emerald Tablet’ kicks of a brutal half an hour or so with a spooky motif fading in, with high toned guitars cranking out a mid paced riff, before a huge amount of bottom end informs a devastatingly slow chug to open everything properly, underscored by some great rolls on the toms. “But that sounds more like doom metal”, you say; maybe so, but it’s very much a red herring. After a few bars of this slow and heavy approach, Sin of God set about their core style and do so with aplomb. The beefy sound gives way for a crushing, pneumatic riff topped by a throaty growl. From herein, it’s pretty much trad death metal for the duration: none of the growled lyrics are audible – some are the vocals are demonically scary – and so it’s down to the music to take the driving seat. The thrash-edged riffs here are all fine, but it’s when they push forth to unleash a dirtier, grindier, purer death sound that Sin of God really come to life. They sound like they mean business and, for the most part, approach their music in a very tight and familiar way. Taking the roots of death, they churn and grind through three brutal minutes before the atmospheric intro returns for a fade out. If you like this, it’s worth listening further. If not, you’re best advised to move on.


‘Phospherous’ combines a juddering riff with some staggering drumming from the outset, before a chorus pushes the tempo even farther. From herein, it’s very much a track dictated by circular, grinding riffs and a drum part that could only be best described as blisteringly fast. As meat and potatoes death metal goes, it’s perfectly played: the ultimate tribute to Ralph Santolla and Chuck Schuldiner’s pioneering work, as are both ‘Deus Metamorphosis’, a track with a speed inflected, skull crusher of a riff and vocal to suit, and the interestingly titled ‘The Great Lion Devours The Sun’, a workout on which each of the band members absolutely wring the hell out of a couple of riffs while the drummer employs some impressive third leg tactics. Perhaps the most distinctive feature during these unsubtle three minutes come from the fact the vocal takes a side step from the constant growl to deliver the lyrics in a more punctuated rhythm. That doesn’t mean any more melodic; just more pointed – this track is still very much of Sin of God’s almost puritanical approach to the genre.


‘The Human Worm’ almost does the same again for the first half, only this time works the drums even harder – if, indeed, that’s even possible. Midway, everything slows to a welcome groove metal chug, but the impenetrable voice and near constant double bass pedals ensure this is still a fairly full on death workout. It’s great to hear something a little slower taking a hold as well as an impressive bass sound cutting through a couple of stops. In the death metal stakes – as always – it’s hard to pick holes in the performance and the band’s general devotion, even if the end results can be wearing in places. The title cut provides the album with one of its more interesting arrangements, as the track begins with the usual lightning speed pneumatics, but tempers the intensities with a melodic lead guitar as counterpoint. The high tones of the lead give a constant element to draw in the ear and the tightness between the band members cannot be argued. The arrival of the vocal means that everything descends into more of a standard death metal vibe. The heaviness increases, thanks to the drums borrowing influence from grindcore – the band in turn sounding like a genuine force of nature. In death metal terms – much like everything that follows – it’s about as well played as any you’ll hear, but it isn’t anything out of the ordinary.


Filling out the rest of the disc, ‘Illuminate Us’, ‘Altered States of Chaos’ and ‘Loss Leads To Impiety’ are a trilogy of intense workouts that will entertain – assuming, that is, you’re still impressed by the relentless drums and growls. ‘Illuminate Us’ briefly suggests extreme metal of a slightly more contemporary style at first – the grindier elements of Nile are hinted upon, and a hissed vocal is unexpected, but soon enough, Sin of God return with speed to their comfort zone; a clean guitar at the outset of ‘Altered States’ that’s followed by a timeless, bombastic intro also gives hope of something different, but inside of a minute, the number works an old school death metal tome into the ground. A dark multi-layered riff promises more, but never really develops. A hard-edged guitar solo during ‘Impiety’ allows a slower and heavier riff to very briefly cut through the noise, with more hints of Nile and even early Slayer, but again, soon prefers a timeless death metal raucousness to make its main musical points. These tracks are never bad and it would be unfair to call them filler when the main thrust has been worked upon so tightly, but compared with the opener and the title cut, they sometimes appear more pedestrian.


It’s fair to say that if you like your death metal played with an almost exclusively traditional approach – classic Death, early Decapitated, Deicide et al – then these Hungarians will certainly impress, whether you’re already a fan or coming to them for the first time. If you’re looking for a more modern deviation, however – maybe tech-death, death-groove or a touch more black metal – then this album might just be a bit too straight. Overall, ‘Aenigmata’ is very well played, but not always distinguishable from so many other releases out there. That doesn’t make it bad – Sin of God are certainly very good at what they do – but with so much other death metal in competition, something a bit less predictable would’ve helped them to really take things to the next level.




At times I tend to forget how much I really love death metal like Deicide and Morbid Angel. The really thick and dense kind of death metal that kicks you in the balls repeatedly. So when I got to hear SIN OF GOD I got that feeling back. This is heavy and thick death metal. The kind that makes me want to take out my Incantation and Immolation albums and play them over and over again. This is death metal the American way. And boy have it been a long time coming. For some reason I haven’t been exposed too much of this lately but hearing this made me realize just how much I missed and need it. Good for SIN OF GOD to remind me.




Que buen ojo ha tenido el sello Satanath al fichar a los húngaros Sin Of God, quienes se han despachado con un disco que los va a situar sin dudas en los primeros lugares del death metal mundial.

El quinteto, que lleva casi 15 años de carrera, está integrado por Zoltán Molnár en voz, Zoltán Borka y László Páll en guitarras, Csaba Sándor en bajo y Balázs Botyánszki en batería, mostrando cada uno en lo suyo una solidez que se traslada al álbum.

Por supuesto que a estas alturas (y más tratándose del death metal), es poco lo que se puede innovar, los húngaros saben esto y no tratan de cambiarlo. Es más, en “Aenigmata” están todos los clichés y patrones que hicieron al estilo tan exitoso y tan reconocido. Riffs durísimos y llenos de técnica, solos agresivos pero llenos de feeling, bajo pulsante, batería poderosa, cabalgatas a dos guitarras y actitud 100% metalera.

La temática lírica sigue los cánones del estilo (no esperen letras de amor y paz), así que no esperen más y consigan este disco. “Aenigmata” no tiene puntos bajos.





Hungarian Death Metal is always welcome in my house, at least when it's well crafted and able to give a painful and lasting kick straight to my groin! ...Well, metaphorically speaking, of course!


Sin of God are made of five talented and seasoned Death Metal musicians who undoubtedly want their band to sound without any nonsense, gimmicks, or other bullshit. The band's second album, Aenigmata, is a strong tour de force, churning out heavy, crushing, and dark Death Metal that draws parallels with bands like Immolation, Incantation, Disma, Torture Killer, and the like. The band's intensity level is high, and if one could be murdered by sound, this album would be the murder weapon. The use of fiery blast beat-ridden drum work added with some ominous, crawling mid-tempo rhythms as well as spot-on solo work seems to be matching really well, highlighting the band's diversity in terms of solid songwriting.


Brutal, very American-sounding NY-style Death Metal is what you get from these Hungarian Death Metal flag bearers. If that's your thing, then this is definitely something for you.





Sin Of God- Aenigmata: Sin Of God is a Death Metal band from Hungary that go beyond brutal in concerns to Death Metal and how it should be presented. The quality is truly raw in sound and the vocals are guttural and sound from the depths of the darkened chasms of ones nightmares. Straight forward instrumentation that works simplistically but effectively. Also I like the approach of the guitar playing in the songs it's not just power cords or riffs. Sin Of God will get your blood pumping and realize the true embodiment that is true Death Metal. Get your copy today.




"Aenigmata" is the second long play by this Hungarian Death Metal entity and believe me it became fairly huge. Since their debut album "Limbus", released in 2012, the band went through some line-up refreshments. The core, that is László Páll (guitar) and Balázs Botyánszki (drums), was complemented by new members such as guitarist Zoltán Borka, bassist Csaba Sándor and M.Z. aka Lupus Canis on vocals. These five hell boys know really well how to compose an essence of darkness and death, whilst keeping it from song to song as monumental as possible. "Aenigmata" is an occult piece of blackened Death Metal art consisting of nine extremely well polished chapters. It was supported by a sound-production that is evil and crystal clear at the same time, so you won't be disappointed by any means. SIN OF GOD's music is pretty fast, palatial and sophisticated; however it has been pretty well influenced by BEHEMOTH and NILE in my opinion. Still the band has a lot to display on their 2nd opus. Their vocalist's manner, especially when he growls deep, reminded me quite a lot the style of Ross Dolan from IMMOLATION. He also brought a great portion of rather obscure and misanthropic themes to add "Aenigmata" a sinister lyrical approach. The 12 pages of the booklet were also filled with different occult sigils and symbols to ensure the anti-religious nature of the band. You can taste this hellish material at: sinofgod.bandcamp.com along with the band's previous works. Enjoy the merciless ride!!! The preferred tracks of mine are: "Loss Leads into Impiety", "Altered States of Chaos" & "The Human Worm".




Now this is some heavy and intense shit. Using a lot of technically sophisticated instrumentation and scaling up the brutality on their second album those Hungarian DM warriors are flirting with fans of what is called Technical Death Metal or Brutal Death Metal these days.

However, thanks to the classic riff work and the trademark lead melodies used to set the tone I would still put them into the traditional DM corner.


Making aggressive music since 2004 “Aenigmata” is only their second album following up on “Limbus” which had been released in 2012. There have been some line-up changes in between the two releases but now they are back stronger and angrier than before.


Like mentioned their music can get pretty technical in places but overall is dominated by crushing riffs and blast-beat drumming that sounds familiar to everyone who has ever listened to an album by bands like Morbid Angel or Sinister to name just two. With their courage to add some twists to the traditional songwriting they create something that sounds like a classic but has enough character to stand on its own.


The guys have a feeling for building momentum and are using the brutal parts not just for the sake of it but as an element to keep the songwriting fresh and interesting. I remember a few moments where I have been thinking “Yeah I know where this is going” just to having been surprised by the band not taking the expected left hand path but turning right. E.g. there are sections where the chorus is repeated a few times but with additional details each time like hi-hats getting more and more intense to get the blood pumping.


Don’t get me wrong: I am a fan of the traditional stuff first and foremost. However, bands like this could help to push the genre a little bit and try to initiate some kind of progression. I have the feeling that a lot of bands nowadays think they need to add more and more speed and technical wanking and make the music more extreme for evolution purposes. For me the real art is to add some layers to the working formula while keeping things authentic and this is exactly what is done on “Aenigmata”.


The production is crushing and highlights the buzzsaw guitars so that it does not sound too clean or sterile. In the vocal department there are no real surprises as singer Zoltan Molnar has that typical growly and barking style.


Overall this album should please a broader variety of DM aficionados and will hopefully find its way in some more collections.





Sin Of God – Aenigmata (2016) We have here a good piece of Blasphemic Death Metal! I like it much more than one ‘bout guts and corpsefucking ha-ha. SIN OF GOD are playing groovy with thick double bas drumming, growling vocals and morbid guitar melodies which remind me INCANTATION and SINISTER. In general “Aenigmata” sounds very old-schoolish and has a big pack of thick guitar riffs. There are no any unnecessary experiments, any shitty stuff; this album is strong and solid like a monolith.