The Garden Of Earthly Delights by Hieronymus Bosch has been used several times by different bands as cover art for their albums. Besides Hexrot, the only one I can think of that features the upper right corner of this triptych, the upper section of Hell, is the very unique Into The Pandemonium. It is fitting that Hexrot also uses this striking portion of the renowned painting; even though the music is totally different, Hexrot’s debut album is as flavourful and divisive as that classic work by Celtic Frost.
It’s not the first time Hexrot shows dedication to Bosch’s work, though. Their solid EP from 3 years ago, Gloomwrought, featured the hellish portion of Bosch’s The Haywain Triptych. This is one of those cases where you can actually judge an album by its cover, as Bosch’s otherworldly and bizarre style reflects well the off-kilter take on death metal that Hexrot presents us with. None of this is surprising, as their label (Transcending Obscurity) has gathered a reputation of featuring very unique takes on extreme metal. Some works have been successful, while others not so much, but just within minutes I knew the label hit the jackpot with Hexrot.
Finding points of comparison is difficult for a band like Hexrot. I believe that if you took some of the post-metal leanings of Ulcerate, the density of Flourishing, and of course the jazziness of Gorguts then you would have something close to Formless Ruin Of Oblivion. As intimidating as that may sound at first, I was surprised at how well their songs were put together, as calmer sections intertwine constantly with the really mental passages. Another aspect that elevates Hexrot’s music is the production, which is phenomenal; the bass is crunchy and always audible, while the guitar solos and leads are pretty charming, playful, and in stark contrast with the dark howls and screams. Despite the density of the music, all these elements have enough space to shine through the cacophony created by the ridiculously complex and ever-changing drumming. The drums change pace so much to the point it gets disorienting, but in a good, mind-bending kind of way.
There is much talent to be found here; Hexrot’s songwriting abilities are impeccable and intriguing. This is especially true on the title track, which covers half the length of the album, and made my jaw drop with its great use of clean guitars and ambient sections. Formless Ruin Of Oblivion is a true symphony of atonal, dissonant madness, and Hieronymus Bosch should feel flattered that his paintings are capable of inspiring such music.
