Chaos Inception is a death metal quartet from Alabama, USA, formed in 2008 and has released three albums to date - with a slightly different line-up in some cases. To my shame, I have to admit that I have not yet consciously taken notice of the band, which also has (former) members of such illustrious bands as Monstrosity and Diabolic in its ranks. Fortunately, this has now changed with “Vengeance Evangel”, which was released in mid-February via the Czech label Lavadome Productions almost 13 years after its predecessor. As much as the label praises the band, these words are justified, at least if you are a fan of brutal, but at the same time technically demanding and sometimes tricky arrangements. The band naturally draws from the pool of American death metal and, in addition to the aforementioned Monstrosity and Diabolic, the usual suspects such as Immolation, Hate Eternal, or, in certain, particularly rhythmic parts, Deicide can also be cited. In contrast to many of their American colleagues, however, Chaos Inception seem more chaotic, impetuous and wild, despite their sophistication and technical demands. I also had to think of the sadly departed Angelcorpse, but especially of some representatives of the Brazilian scene, who have always been rougher and more rugged. At this point I'd like to mention names like Krisiun, Rebaelliun, Nephasth, but especially the Brazilian Abhorrence (not to be confused with the Finns of the same name), who released their only album “Evoking the Abomination” in 2000, which is still highly recommended. But back to Chaos Inception. With its extremely fast, brutal, but also very rhythmic parts, “Falsificator” is reminiscent of an interplay between the aforementioned Deicide and the unfortunately no longer existing Berliners of Necros Christos in their respective best forms. "La Niebla en el Cementerio Etrusco" partly reminds of the best sluggish, ominously diabolical pieces by Morbid Angel. As you can see, there is always something to discover; tempo changes, the alternation of straight, fast parts with more intricate passages ensure a high degree of dynamics and brilliant solos are also used extensively. The eleven tracks thus combine the best of both worlds: the impetuous ferocity of death metal with technical refinement and complex arrangements, without losing any of their punch through the latter aspects. All in all, I can only give an unconditional recommendation for fans of brutal and wild, yet complex and very sophisticated death metal; the powerful, very dry production also contributes to this.
