Welcome my fellow black metalheads, Sean here at the Black Metal Archives, and today I’m fucking possessed by the sonic hellfire of Sator Malus and their latest slab of misanthropic glory, Genesis of Devolution. Dropped on January 26, 2024, straight from the Dutch underground with no label bullshit, this five-track monster is the second full-length from these shadowy fuckers—Naberius and Allocer shredding guitars, VVvlfsqvvintvs bashing drums, Pestus spitting venom, and Eligos (ex-Marbas) rumbling bass and twisting the knobs at Kaiserschlacht Studio. Seven years after Dark Matters ripped my soul apart, they’re back with a vengeance, hurling hatred at humanity’s rotting carcass in a way that’s got me banging my head ‘til it bleeds. This is black metal that grabs you by the throat and doesn’t let go—let’s tear into this motherfucker.
“Darkness Enlightened” kicks the door down with a riff that’s like a rusty blade slicing through my chest—raw, jagged, and dripping with frostbitten fury. Naberius and Allocer’s guitars snarl with that second-wave venom I fucking live for, while Pestus’s vocals are a banshee wail straight from the void, rasping and hateful. VVvlfsqvvintvs’s drums are a goddamn avalanche—blasting my skull open—and Eligos’s bass growls like the earth cracking underfoot. It’s a relentless opener that sets the tone: this ain’t no soft shit, it’s war against the world, and I’m enlisted.
“Control the Cancer” digs deeper, a festering wound of a track that’s got me snarling along like a rabid dog. The guitars weave this hypnotic, melodic chaos—sharp as fuck but dripping with despair—while the rhythm section pounds like a death knell for civilization. Pestus’s voice is pure bile, spitting lyrics that curse humanity’s diseased soul, and I’m right there with him, fists clenched, ready to burn it all down. This one’s a slow-motion gut punch that leaves me gasping and grinning—black metal doesn’t get more real than this.
“The Extinctionist” is where I fucking lose it—a feral beast of a song that hits like a sledgehammer to the face. The guitars roar with militant precision, twin leads slicing through the haze, and the drums are a goddamn blitzkrieg, relentless and savage. Pestus howls like he’s summoning the end times, and I’m screaming with him, veins popping, ready to watch the world crumble. It’s got this venomous energy that courses through me—pure, unfiltered hate turned into art, and I’m fucking addicted.
“Ruins of Human Nature” slows the tempo but cranks the weight—holy shit, it’s a crushing dirge that buries me alive. The guitars churn out riffs thick with doom-laden melody, dripping with that old-school Scandinavian vibe, while Eligos’s bass thunders like a collapsing empire. Pestus’s vocals shift to a guttural snarl, layered with anguish, and it’s like he’s narrating the death of everything I despise. This track’s a fucking monument to decay, and I’m reveling in every second of its bleak majesty.
“Genesis of Devolution” seals the deal, a title track that’s a goddamn inferno of rage and beauty. The guitars ignite with venomous, melodic fire—think Dissection’s icy grace meets Burzum’s primal wrath—while the drums and bass forge a foundation that shakes my fucking core. Pestus’s voice is a weapon, cutting through with hateful poetry, and I’m left reeling, head spinning, as it all crashes into silence. It’s the perfect end—chaotic, triumphant, and so fucking alive it hurts.
Sator Malus’s sound on Genesis of Devolution is a brutal symphony—Naberius and Allocer’s guitars are twin demons, shredding with razor-sharp riffs and haunting melodies, while Eligos’s bass is the dark pulse that keeps my blood boiling. VVvlfsqvvintvs’s drums are a fucking onslaught, pounding with militant fury, and Pestus’s vocals are the voice of the abyss—raw, real, and dripping with loathing. In the black metal genre, these Dutch bastards stand shoulder-to-shoulder with the ‘90s titans—early Satyricon’s frost, Mayhem’s grimness—but they’ve got a melodic bite and atmospheric heft that’s all their own, flirting with the likes of Kjeld or Ulver’s raw days. This album’s a fucking war cry, a middle finger to humanity’s bullshit, and it’s got me hooked—crank it loud, let it rip, and join me in the goddamn shadows of Bandcamp with this one!
