Some metal bands never make the same album twice; they spend their whole constantly career finding new ways to experiment with and change their sound. Krisiun is definitely not one of those bands. Instead of trying to achieve a vastly new or original sound, this Brazilian trio play it safe and focus their efforts on being even faster, tighter, and heavier than last time (if that's at all possible). As a result, what most of their albums lack in innovation, they more than make up with monstrous brutality.
This is the case on Krisiun's third full-length, 2000's "Conquerors of Armageddon." What is the band's policy on this album? Take absolutely no prisoners, and scorch every last inch of the Earth. This is a devastating, forty-one minute avalanche of grindcore-worthy speed and skull-crushing heaviness. And since there are no slow tempo changes/breakdowns, acoustic guitars, keyboards, or melodic guitar lines to be found here, the arrangements never let even a single ray of light shine through. Each of these nine unbelievably dense and tight, Morbid Angel-indebted tracks overflow with massive, scalding riffs, churning, steamrolling leads, murderous, trapkit-annihilating blast beats, guttural bass rumbles, demonic, bellowed vocals, and equally-as-evil lyrics. "CoA" is also of note for its exceptional sound - the production (courtesy of Hate Eternal's Erik Rutan) is very full, clear, and well-defined, but never slick, making it easily one of the best-produced albums in Krisiun's discography.
The ominous, nearly-silent, calm-before-the-huge-storm-esque wind noises that open "Intro/Ravager" give the listener the only chance he or she will get to take a breath for the whole album. But just fifteen seconds later, the onslaught begins - skinsman Max Kolesne's insane blasts are heard cracking away underneath his brother Moyses' heap of ferocious, face-ripping riffs. Other choice standouts include the paint-pealing solos of "Abyssal Gates," the barn-burning, buzzsaw lead, careening solo, and jackhammering drums that back "Cursed Scrolls," the excellent, machine gun-cannon fire riffage, pummeling rhythm, fairly ripping solo, and memorable shout-along part of "kill, kill, kill!" that highlight "Hatred Inherit," and the wicked vocal effects and lengthy, winding, even borderline-melodic solo in album closer, "Endless Madness Descends."
Granted, "Conquerors of Armageddon"is completely devoid of variety, and even its individual songs become fairly repetitive (repeating the same riffs and drum beats over and over again). Thus, there will probably be more than one time that your mind will wonder while listening to this album, and very little of it will stick with you after hearing it. But on the plus side, look at it this way: it is not as technical, epic, or intricate as some death metal albums, so it is much easier to digest and wrap your head around than, say, a Nile record, while at the same time being an equally satisfying listen.
All in all, there's better brutal death metal out there, but this is still an essential listen for all fans of Morbid Angel, Deicide, Belphegor, Vital Remains, and extreme music in general.