Shamash: Done With Misery (Nos Pergamos In Domine Saluteum) |

From One Extreme To The Other

(2024 – Rottweiler Records)

The first thing that comes to mind is that Shamash are either completely insane or exceptionally intelligent. I can’t decide between the two hypotheses, but basically this album is responsible for making my head spin, and that in itself is a positive thing.
From the outset, with the intriguing (and lengthy) title that Shamash has given to what is essentially their first album, we can see that the band based in Kuala Lumpur, Malaysia, uses its intelligence (or madness, if you will) as its main weapon, coupled with a sound that, although it may not seem so at first, turns out to be original enough to keep me entertained and headbanging for a long time.
Apparently, we are talking about two things in one integrated thing, and as if we were talking about a side A and a side B, there are two distinct parts to this work, and therefore, we understand the intriguing title of this album. It is as if Shamash wanted to integrate, into one thing, two genres that are in principle irreconcilable, such as Metalcore and Death Metal.

Shamash is a kind of blender where the ingredients are as diverse as Death Metal and all its branches, with some symphonic elements here and there, some groove, some Metal or Thrash Metal here and there. The result, presented in a kind of brutal and versatile metalcore, and which, although perhaps due to its remoteness we could compare to Extol (although ultimately it has no relation whatsoever), is a kind of brutality that runs through the current death metal/metalcore scene, with the speed and power that some bands have lost along the way.
This madness begins with “Not By My Heart,” where Shamash pounds away, setting the pace but also finding time for clean vocals, very much in the style of current metalcore but with enough force to banish any similarity to the current state of the genre. So far, nothing out of the ordinary, but “Done With Misery” (the title track of this first part) is something else. I don’t know how Shamash manages to fit traces of several genres into the same song, but he does it, and it even sounds good, you could say.
We talked about Death Metal. “The Missionary” is the reason. Riddled with riffs here and there, plus furious blast beats. Next up is “Take Me As I Am,” more in the melodic metalcore vein with Slipknot-style percussion, but with “Father Of Lies,” Shamash returns to the heavier side of things, although it’s a bit disorienting; at times, you don’t know where they’re going with it, and they turn on the blender, and it can come out a little crazy.
The melodic and relaxing moment could be “In Memoriam,” a mid-tempo song full of chordal choruses that is somewhat reminiscent of Demon Hunter. What follows is a musical interlude in the middle of the album, aptly titled “Interlude,” which takes us through a totally different landscape with a sort of classical and acoustic guitar strumming. The orchestration and guitar solos give it an even more impressive tone, and it seems to separate the first part from what comes next, which is totally different from what we’ve been hearing.
“Nos Pergamos In Domine Saluteum,” with its difficult Latin title, takes us on a kind of strange adventure, mid-tempo and with almost monastic choirs. Shamash surprises us again, and in an unorthodox way. And apparently, they saved the best for last, because “The War For Jerusalem” is worth its weight in gold, and Shamash makes everything they’ve shown throughout this album count in a song full of pure rage that reminds us of the good old days of Mortification.
That’s not all, “The Return Of Al Masih,” with its semi-stuck march and Thrash Metal-scented riffs, takes us through an apocalyptic and warlike landscape. It’s almost beautiful and could even be said to be one of the best things on the album. And to top it all off, Shamash treats us to a cover, included here as a bonus track; a wild rendition of the ineffable “God Rulz,” that short, violent, and direct piece with which Mortification used to end their concerts, masterfully performed here.

Shamash makes a triumphant entrance on their first album, setting themselves apart from the rest and presenting a work that is not without risk. The gamble paid off. If a guy like me, who is not a fan of current metalcore, finds this hitting me like a punch to the chin, imagine that. Shamash’s intensity, coupled with their versatility, achieves a combination of proportions to be reckoned with. However, their tendency to wrap it up in a kind of current sound leaves the band in a slightly uncomfortable position, you could say.
I say this because, as in the old days (when we used cassettes and vinyl records), the album can be divided into side A and side B, and the latter is undoubtedly the most interesting. The final part of the album tips the balance towards the more extreme, better constructed, more complex side, with songs that are worth listening to.
You wouldn’t believe me if I told you that Shamash is just a trio. Yes, three guys who make a tremendous racket all by themselves. It’s true, there are some guest artists on a few tracks, but even so, the idea that three guys can make and put together such a noise is saying a lot.
Mind you, the sound achieved here has a lot to do with the engineering and sound production in the studio, about which not many details are given, but it’s enough to listen to this album to know what we’re talking about. The sound seems almost enveloping, with the percussion sounding almost like “barrels,” I could say, although far, very far from the “barrels” of the never-loved “St. Anger” by you-know-who, so don’t be alarmed. This is something different. Add to that the low tones of the guitars and the work on the vocals, which range from guttural sounds unusual for the genre to the inevitable choruses sung in a natural voice. Interesting, to say the least.
Graphically speaking, the album cover is intriguing, original, and thought-provoking. But that’s not all, because the inside of the booklet continues with illustrations along the same lines, where scarecrows and sinister crows dominate the images. The CD edition follows the classic line, with no surprises but also no cost-cutting measures such as cardboard boxes and the like. In addition, it has its corresponding digital edition, although in the latter case, it should be clarified that the Mortification cover is exclusive to the physical CD edition.
Shamash made their first splash in album or full-length format, as they say, and they did so in a triumphant and interesting way. They have the potential to be something much more serious in the future. I suggest you keep an eye on them, because here, there is fire in the making…
As usual, we leave you with something from Shamash. In this case, the video clip for the song “Nos Pergamos In Domine Saluteum,” and of course, the contacts for these guys so you can follow them closely on social media…

https://www.facebook.com/RottweilerRecords

https://www.facebook.com/mymetalservant

https://www.instagram.com/shamashmy