The ironic folly of Metal music is that it is conformist. Metal fans fit into a traditionalist mindset that belies their blatant black clothes, gore shirts, corpse paint, leather, spikes, and projection of pseudo-nihilism. Yes, they are no different than suit clad yuppies, baggy clothes wearing rappers, or hair parted to the side EMO kids sporting teeny shirts and tight jeans. Therefore, I sneer at fake insurrection until I get a gem of a CD in the mail that makes me chug whiskey, enthralls the hedonist in my soul, and compels me to beat down a priest with hands clad in brass knuckles. In those moments, nonconformity is tangibly real, and my sinister laugh spirals as Krotalus rapes the world.

‘Blood Offerings’ is literally a massive typhoon whirling about in a pattern that seems random despite the obvious uniform complexity of the music. Adding to this slight paradox is that the entire band is highly skilled, but they recognize restraint for being a key element of Death Metal. Consequently, pointless technicality is abandoned, but surgical precision is still a mainstay. All the tracks on ‘Blood Offerings’ are tremendous. Riffing is faster than a meteor crashing into the earth and a tight variety of creative riffage fills each track like searing shrapnel fragmenting a soldier’s body. Maniac breaks give way to more intricate notes nearing a perihelion extreme enough to melt the guitars. Breakdowns in that ol’ 80’s Possessed meets Slayer style treats listeners to more chords and crushed notes than bodies left on a WW1 battlefield. Krotalus does not shun poisonous harmonies and melodies either. Check out the passage starting at 1:26 of "Blood Offerings" that ascends in the portent of a cobra snake preparing to strike the back of an unsuspecting child. Leads are sublime from their placement in tracks to their double helix of harmony measured dexterously against shrill vibrato molestation festering from strings bent like a hottie on her knees. Fucking insane harmony leads pound songs with the guiltlessness of an unexpected uppercut, and lead fills smoothly timed into songs convey a sense of constant fear lurking around each musical corner.

Drums are swamped in monstrous rolls and amazing footwork. Clamoring cymbals festoon with guitars to transmit tempo, and impeccably timed double bass oozes a malevolent speedy darkness throughout each song. Bass is a huge underbelly of low frequencies bouncing like the reverberations of depth charge rattling the pressure hull of a submarine. Vocals are raspy thrashing shouts with hostile intonation to match riffing; a blistering screech segues into a break, or a heartfelt scream adds harmony to an exact passage or solo break. Most important is the rage and wicked attitude expressed in the vocal pitch pattern, which afflicts ears like a demonic chemical burn. In this sense, listeners truly feel enraptured by a satanic maelstrom.

Krotalus does not sound like any one band. They are a fusion of Thrash, Black and Death Metal in a style that is virulent. The music is lean and fast, but beefy with a methodical approach keying off toxic riffing contrasted against passionate solos, and a portly rhythm section smothered in a hatred voice. The production is livelier than a kick to the balls, and fantastic musicianship gives the music a sense of fluid urgency. How in the hell Krotalus isn’t signed to a label is a fucking mystery, but it is fitting cause it further injects artistic individuality into the bands style. This inoculation is a vibe displaced to make fans realize they are buying more than merely another Metal CD with a satanic theme, for the reality is that for 38:25 they are part of a rebellious legion where all sins have no consequence. Yes, Krotalus has arrived, and ‘Blood Offerings’ is their lethal covenant.

By Mike Lidia