ALBUM REVIEW: Ex Rosa Ceremonia – Pulchra Morte

Originally forming in 2019 and releasing their critically acclaimed debut, Divina Autem Et Aniles, death/doom outfit PULCHRA MORTE harken back to that early 1990s sound pioneered by bands like PARADISE LOST and MY DYING BRIDE. The band make no secret of their love for either band or others of their ilk but are far more than a simple tribute act. After releasing their debut and touring extensively, the band soon began writing for this, their sophomore outing. Featuring a couple of lineup changes, the supergroup now comprises Adam Clemans [SKELETONWITCH, WOLVHAMMER], John Porada [WOLVHAMMER, ABIGAIL WILLIAMS], Jarrett Pritchard [EULOGY, BRUTALITY], Clayton Gore [EULOGY, HARKONIN], and Jeffrey Breden [LEAGUES BELOW]. 

Such extreme metal pedigree is made immediately apparent; the band’s stated aim is to write music with weight, atmosphere and feeling and opener The Serpent’s Choir makes good on that promise. Wasting no time, we’re treated immediately to a brooding mid-paced stomp and some unearthly bellows. The band’s stock in trade are crushing riffs, piledriver drumming and voracious growls that trade with higher pitched screams. 

Density and riffs are certainty the order of the day; The Serpent’s Choir, Knife of the Will and Locust Humanity are all monstrosities, crushing all in their wake. The band eschew the gothic stylings of their forebears and instead utilise sheer weight and tectonic grooves to convey atmosphere and catharsis. Songs themselves are tightly woven; despite drinking from the darkened waters of doom’s well they keep songs relatively brief and focused. This tight song-writing coupled with their endless stream of ideas makes for an easy listen. Songs like In The Mourning Light switch from mid-paced stomp with enough force to snap necks to slow dirges capped by Cleman’s blackened rasps. In particular, the solo in the aforementioned track is lush, naturally growing and shrouding the song in its gloomy melodicism. 

PULCHRA MORTE have a keen eye for melody as well as riffs. Songs don’t just senselessly bludgeon, though the band are more than capable of this. They also carve deep, emotionally raw channels through the mournful melodies, such as those on In The Mourning Light and Prince Among Shadows, the latter of which features a distraught opening solo. It’s reminiscent of early PARADISE LOST, both in the guitar melodies and the gloomy clean vocals. 

Instead of wallowing in dirges of self-pity or flagellation, PULCHRA MORTE instead speak to a need for an expanded consciousness, of living intentionally rather than being blind to the world and accepting things as given. They accomplish this through both brawn and brains; the first half of the album up to Prince of Shadows utilising brawn through doomy grooves and gargantuan riffs while the second half, without foregoing any of the heaviness, delve more into the emotional spectrum in parts. The production only helps their organic sound; there’s plenty of room for every instrument and the vocals without ever losing its raw edge.

Ex Rosa Ceremonia is a step up from its already-great predecessor in every way, tightening song-writing and adding new layers to their monolithic death/doom sound without sacrificing what made them such a promising prospect to begin with. 

Rating: 7/10

Ex Rosa Ceremonia is set for release on November 6th via Transcending Records. 

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