Djinn-Ghül emerges from its lair.
Created in 2016 by American Grant Nachbur (vocals/all instruments, Auricular Insemination, Ritual Aesthetic, ex-Nephrectomy) and Venezuelan Junior Patiño (vocals, Human Carcass Crop Circle, Deflorated Pussy, Rotten Vomit…), the band released their first album in 2017, followed by the second three years later. In 2023, they announced Opulence, their third album, still on Vicious Instinct Records.
After some ominous percussion, God Lymph crushes us under a suffocating and extremely saturated rhythm which barely lets a few dissonant notes emerge from this veil of darkness. Screams eventually appear alongside the explosive riffs, blending Deathcore, Brutal Death and Grindcore before giving way to the equally violent Xobek and its disturbing occult sounds. The dry groove mixed with waves of raw strength is perfect for allowing the band to grant us a few brief moments of respite, as on the final which leads into Ghola and its dark approach the two musicians cultivate via fast aggressive parts. On Opulence, the eponymous track, the band call on vocalist Jordan James (Disentomb, Hydrocephalic) to reinforce massive howls, while maintaining a certain duality with the piercing screams and their cybernetic effects, anchoring the band in its uniqueness. The sound also draws on catchy Slam Death before Pseudosapien imposes its full-speed surge under ominous keyboards and a jerky blast which eventually gives way to Mother, an eerie interlude where Industrial sounds meet sampled vocals. The silent panic continues on Fruitless Grasp before being annihilated by riffs and screams’ virulence, featuring Phlegeton (Wormed, Lifelost, ex-Godüs… ) who brings his own touch of vocal heaviness to the hurricane, before modern experimental influences lead us to Garden of Jaws (It Sees Too Much) and its crushing, chaotic but extremely catchy rhythmic patterns, alternating unhealthy energy and dark airy parts. Grave Vessel, the final track, amplifies Noise and Industrial elements to create a final wave of sonic oppression, occasionally joined by a few effective riffs before a heady final.
If you like Old School, conventional sounds, run away. The creeping chaos created by Djinn-Ghül grows richer with every listen, letting Opulence become as disturbing as addictive, while conscientiously crushing us.
90/100