Desolation Realm

by Desolation Realm

In the early '90s, a band named Timeghoul, which only released two demos before disbanding without much attention, has, since the 2010s, spawned a wave of numerous "ghoullike" bands. Amid the old-school death metal revival that began in the late 2000s, several excellent “second Timeghouls” have emerged. Among them, Desolation Realm, hailing from Oslo, Norway, stands out as a band that has achieved significant musical distinction. Though this review focuses on Desolation Realm's self-titled debut EP, I began with an extended introduction to Timeghoul because their shadow unmistakably looms over Desolation Realm’s music. Nevertheless, this band manages to deliver music that is impressive in its own right.

Timeghoul’s belated rise in popularity can be attributed to the unique musical identity they developed, even among the numerous death metal bands of the time. Their music stood out for its stark contrast between slow, epic, and cosmic death/doom sections, and the fast, destructive, and monochromatic death metal passages, as well as the seamless fusion of these two dynamics. Desolation Realm has absorbed these lessons and channels them flawlessly in their own sound.

The four tracks on this EP are, without a doubt, all excellent. Each song features an epic guitar lead that anchors the death/doom sections—a characteristic that has even led some to classify the band as death/doom. These slower sections are balanced perfectly with fast-paced, low-pitched, relatively simple riffs. Tracks like "Lifeless Forms," with its more straightforward riffs and a lesser emphasis on doom elements, and "Crypts of Decay," whose transitions between sections feel slightly less natural than others—though these are still great tracks—shine less compared to the title track "Desolation Realm" and the closing piece, "Sepulchral Nucleus," where the band’s strengths truly come into full bloom. Although I’ve emphasized Timeghoul’s influence, Desolation Realm is not without its own distinct identity. While the slow sections heavily evoke Timeghoul’s spirit, the faster sections employ more primitive death metal riffs, giving the band their unique sound.

As much as I think this is an outstanding record, there are still some minor shortcomings. The occasional contrast between sections that rely on the same riff at different tempos leaves space for the listener to imagine better alternatives. And while I described their use of primitive riffs as part of their unique identity, at times, it feels a bit too simplistic. However, the band’s strengths more than compensate for these shortcomings. Fans of death metal who can appreciate the peak moments of Timeghoul, such as "Occurrence on Mimas," should absolutely give this EP a listen.