De Vermis Mysteriis is a perfect fusion of traditional High On Fire chug and Sleep's undeniable grooving. Des Kensel's drums are clearer than ever, but never overbearing like on Snakes for The Divine. Meanwhile, Matt Pike's vocals sit just below the almighty guitar riffs and Jeff Matz' bass swings melodically, adding perfect balance of depth and movement to the songs.
This album is by and far better than Snakes For The Divine. While the guitar tone might not be as present, the overall mix of the record makes up for it. The songwriting here is rawer, more potent, propulsive, and less self-indulgent.
However, some songs on De Vermis do feel like rip-off's from High On Fire's back catalog. Most notably opener “Serums of Liau” gets its primary vocal melody and 4/4 power chord swagger from “Brother In The Wind,” a track off the band's 2005 LP Blessed Black Wings. Also, the next track, “Bloody Knuckles” primary riff is a scathing copy of Blessed Black Wings' title-track. However, these songs strip away the excess meandering of their predecessors and replace it with pure aggression that makes them a more compelling listen.
But enough of that. This album kicks ass and here are a few songs that show why. The Sleep-inspired “Madness of An Architect” features a riff-progression as inspired as “Bastard Samurai,” but Kurt Balou's mix allots even more listenability. And closer “Warhorn” might deceive with its somewhat standard noun+medieval title, but in reality it is a plodding dirge featuring some of High On Fire's most well executed dynamic flourishes. The song paints images of a corrupt general's maddened quest across a post-apocalyptic landscape raping and pillaging the remnants of a lost civilization. Sad, heavy, and brilliant, it is a fitting closer to this great album, although I wish they would have repeated the outro riff a few more times. Also notable is instrumental “Samsara” which recalls later Ozzy-era Sabbath with its atmospheric vibes and sees High On Fire finally getting the instrumental format right. “Romolus & Remus” is another highlight which features a chugging riff akin to “Fire, Flood & Plague,” but with more to offer in its structure and originality.
Start to finish, De Vermis Mysteriis is High On Fire's best album since Surrounded By Thieves. All instruments, riffs, and aspects of production come together in a master-display of cohesive heaviness. But compared to the burgeoning sludge metal landscape it is released into, is it better than Black Cobra's recently released “Invernal”? Maybe, but better than “Snakes For The Divine” and 95% of what's been released since by comparable bands (including the ever disappointing prog-lords Mastodon)? Oh hells yes. Some songs on De Vermis are utterly simple, while others are indefinably complex, but the album as a whole proves that although High On Fire may not necessarily be traversing new ground, they are continuing to refine their style, and while occasionally recycling old riffs, remain entertaining in a burgeoned field of mediocre performers.
