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Summoning Hellgates, emerging from Spain’s underground extreme metal scene, is a new duo positioned at the intersection of black and death metal, presenting the aggressive language they have been shaping since 2021 to a wider audience for the first time with “Spear of Conquest.” Released under the Osmose Productions banner, this 21-minute EP combines a war metal-inflected sense of intensity with modern production discipline. The band draws attention particularly through riff writing that references 90s extreme metal traditions and a compositional approach built on constant forward momentum. Rather than clearly defining the boundaries between black and death metal, they compress and blur them through sustained pressure. In this regard, “Spear of Conquest” functions as a short but characteristic statement that both clarifies their position within the scene and outlines the specific intensity model on which their sound is built.

From the very outset, the EP operates within a black/death framework that prioritizes direct forward propulsion over layered density in its riff architecture. The guitars oscillate between tremolo-driven high-speed flow and death metal-rooted mid-tempo, tightly compressed riffing; however, these transitions do not create dramatic ruptures so much as different levels of compression within the same harmonic field. When combined with the EP’s compact 21-minute structure, this approach causes the songs to be read less as distinct individual entities and more as a continuous spectrum of aggression.

The opening track “Invokation” stands out as the only clearly defined structural deviation within this cohesion. Its ritualistic synth textures and spoken-word vocals function less as atmospheric expansion and more as a brief contrasting layer that establishes a reference framework for the harmonic compression that follows. With “Conciliábulo,” the record shifts into sharper palm-muted guitar articulation and blast-driven acceleration, while the divebomb leads carry a distinctly death metal-oriented phrasing. However, these lead passages act less as interruptions to the riff flow and more as short transitional signals layered on top of it.

In the rhythm section, the drums are primarily focused on generating continuous momentum. Blast beat passages create a “machine-speed” sense of intensity, while even in mid-tempo sections the drumming avoids any real sense of negative space, instead maintaining a consistently filled sonic field. The bass guitar’s role in the mix is particularly significant; its “meaty” low-end layer thickens the guitar wall, forming a framework that increases density rather than restoring harmonic clarity. This is especially evident on tracks like “Hostis Humani Generis – The Revenant,” where the interaction between guitars and drums is perceived as heavier, more monolithic blocks of sound.

The vocal approach sits within a black/death hybrid spectrum but avoids relying on a single growl or scream type, instead employing intra-phrase tonal shifts. In sections such as “Prisoner of Your Own Flesh,” the overall aggression of the vocal line remains constant, yet the articulation occasionally shifts toward a more cutting shriek form, generating a parallel increase in rhythmic tension. The decision not to place the vocals prominently in front of the guitar wall in the mix is also notable; rather than functioning as a separate focal point, they are integrated as part of the instrumental mass.

The overall song architecture favors “density shifts” over clear-cut breaks between fast and mid-tempo sections. The thrash-oriented riff fragments in “Tongues in the Threshold” represent one of the most visible deviations from this model, yet these passages do not redirect the composition so much as function as alternative articulations of the same aggressive language. The closing track “Cilice of Atonement” presents this approach in its thickest form; the feedback layers emerging in the second half operate less as structural collapse and more as a controlled dispersal of sonic mass.

In terms of overall production aesthetics, the EP maintains a middle ground between rawness and clarity. While clearly referencing 90s extreme metal aesthetics, the approach does not fully reject modern mixing precision; instead, it preserves riff density without excessively fragmenting the frequency spectrum. This places the band in a lineage adjacent to Angelcorpse and Proclamation, while also aligning them with more contemporary acts such as Black Curse in terms of “controlled intensity.”

The critical point here is that the EP’s war metal-associated exterior does not translate into a fully uncontrolled compositional logic. The riff writing maintains a certain technical continuity, and the songs develop through accumulation rather than overflow. This stabilizes the sense of aggression for some listeners, while potentially creating a more formulaic perception of intensity for those expecting greater chaos.

Repeated listening reveals that the structure is less about a lack of variation and more about a block-based compositional logic driven by micro-transitions. However, despite its brief 21-minute runtime, the consistent application of a similar intensity strategy across all tracks can, over time, limit the sense of differentiation. This is where both the strength and limitation of the EP become clearly defined: the ideas are precise and execution is tight, but a fully expanded compositional language has yet to emerge.

“Spear of Conquest” ultimately stands not as an abstract notion of “raw potential” or developmental promise, but as a short-form statement that applies a specific black/death intensity model in a disciplined manner. The listening approach it demands involves following songs not as isolated characters, but as shifting blocks of intensity; otherwise, the structures risk appearing overly similar. As such, the EP is best understood through its compositional technique and sound mass management, while its position within the scene is defined by a controlled form of extreme metal aesthetics.

OZY


https://osmoseproductions-label.com/summoning-hellgates-spear-of-conquest/

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https://osmoseproductions.bandcamp.com/album/spear-of-conquest