Normally, technically focused albums are hard to digest and top-heavy, they command respect, but the comprehensibility often falls by the wayside. The Canadian quartet's 2nd album is also teeming with hard-hitting, technically adept riffs and fretboard acrobatics to the max, but the musicians of ATRÆ BILIS cleverly incorporate nice grooves time and again and make the songs catchy in places. The one-dimensional roaring vocals are rarely interrupted by sometimes annoying subwoofer experiments or modern variations, so for the time being they only set a few accents in terms of variety. The unwieldy melodies and rhythms cause jaws to drop every second due to the numerous time signature changes, but the songs themselves lose their effectiveness due to the rasping vocals. However, spherical echoes and clear vocals raise Salted In Stygia to a higher level in terms of surprise effects. The production is clear and really bangs, but signs of fatigue soon appear, as the constant adrenaline release is too rarely broken through. The heavy, subtly symphonic breaks, such as in Inward To Abraxas, should therefore be used more often, but the hyper-modern effect does not promote the mood or serve the song. Short and compact wrecking balls (Through The Hologram's Cervix) alternate with atmospheric instrumental passages, and there are also some cool stereo effects.

Neck-breaking rhythms, flawless guitar witchcraft and a pinch of theatrical symphonics merge on Aumicide into a sometimes unwieldy, sometimes harmonious overall construct. A rollercoaster of emotions.