The debut full-length from New Orleans death/thrashers Incubus offers some absolutely engaging work that was simply beginning to take shape as the roots of death metal were still being explored and developed. While the music might still be considered thrash for the most part, the absolutely phenomenal work throughout here at developing the kind of tight, vicious thrash-based riffing gives this such a sense of boundless energy and full-throttle speed during their rampaging moments that there’s a genuine sense of chaotic energy apparent throughout this as there’s an unhinged and reckless piece of enthusiasm given to what’s on display here. This creates a series of savage, primitive riffs played at rather ferocious tempos all the while being augmented by blasting drumming and rabid, snarling vocals that are dirtier and far more demonic than most true thrash bands were doing at the time, truly giving this a feel more in line with where death metal was going than in staying in league with the thrash scene at the time. The groundwork for the genre is there in the unbridled speed and aggression that were to be found in the later works from the Floridian pioneers still experimenting with these sounds which would come into greater prominence in the next couple years that would solidify the genre as a whole, making this one of the most important and influential titles in the genre’s history. 　　 　　The songs here are all top-notch without much deviation. Opener ‘The Battle of Armageddon’ offers a fine sampled-battlefield effect before launching into a tight, crunchy mid-tempo blast of thrashy riffing and steady, thumping drumming twisting through vicious, twisting and biting rhythms taking the complex rhythms and dynamic change-ups along through the frenzied solo section into the mad thrashing of the finale for an absolutely stellar opening here. ‘Voices from the Grave’ features a savage mid-tempo crunch with a truly unrelenting series of drum-blasts that go alongside the utterly frantic riff-work that takes on plenty of thrashing up-tempo patterns as the dynamic rhythm changes into frantic full-throttle blasting in the final half for another truly enjoyable effort. ‘Sadistic Sinner’ rages through intense, frantic riff-work and blasting drumming at a full-throttle tempo with dynamic rhythm changes as the furious riff-work charges along at a steady pace with the frantic patterns flaying along through the frenzied solo section on through the mid-tempo charging of the frantic finale for another stellar track. The utterly frantic ‘Incubus (Opprobrium)’ features tight, raging thrash and explosive rhythms with the utterly blasting drum-work and frenzied razor-wire riffing featuring scalding rhythms full of severely discordant riff-work alongside the blistering drumming soon settles into a fine mid-tempo chug that blasts back into the frenzied final half for a truly chaotic and frenetic effort. 　　 　　The second half as well contains as much good stuff as the first half. ‘Blaspheming Prophets’ features schizophrenic drumming and razor-wire thrash riffing that soon takes into a fine mid-tempo gallop with tight, crunchy riff-work and a series of scalding thrash riff-work bristling with spectacular mid-tempo riffing and dynamic soloing leading through the steady finale for a much-less chaotic but still highly enjoyable experience. ‘Hunger for Power’ uses a thumping mid-tempo charge with simple drumming and fiery riffing with plenty of frenetic thrash riffing that soon settles nicely into a bouncy mid-tempo charge with scalding rhythm changes amid plenty of blasting drumming bringing the furious drumming into the solo section as the frantic rhythms continue through the final half for a heavy, thumping and enjoyable effort. The utterly frantic title track utilizes raging mid-tempo riffing turns into utterly rampaging drumming with chaotic razor-wire riffing amid blasting rhythms and blistering speed-driven patterns that continually hammer away during the chaotic solo section and carries on through the charging finale for one of the most impressive and enjoyable efforts here. Finally, ‘Underground Killers’ uses a swirling razor-wire riff alongside blasting drumming that settles into a rather frenetic up-tempo series of rhythms with the minor melodic riffing in the mid-section to lead into the rather schizophrenic solo section blasting through the furious riff-work running through the steady final half which ends this one on a high note. 　　 　　This is one of the most essential and important releases in the history of the genre, not just because of the lasting influence it’s left behind by having scores of imitators taking cues from this release but also by containing such admittedly impressive material in the first place that it’s a truly timeless release, definitely worth picking up if you’re a true blue dyed-in-the-wool death metal fanatic or looking to get away from all the retro/throwback acts and give the real thing a chance.The debut full-length from New Orleans death/thrashers Incubus offers some absolutely engaging work that was simply beginning to take shape as the roots of death metal were still being explored and developed. While the music might still be considered thrash for the most part, the absolutely phenomenal work throughout here at developing the kind of tight, vicious thrash-based riffing gives this such a sense of boundless energy and full-throttle speed during their rampaging moments that there’s a genuine sense of chaotic energy apparent throughout this as there’s an unhinged and reckless piece of enthusiasm given to what’s on display here. This creates a series of savage, primitive riffs played at rather ferocious tempos all the while being augmented by blasting drumming and rabid, snarling vocals that are dirtier and far more demonic than most true thrash bands were doing at the time, truly giving this a feel more in line with where death metal was going than in staying in league with the thrash scene at the time. The groundwork for the genre is there in the unbridled speed and aggression that were to be found in the later works from the Floridian pioneers still experimenting with these sounds which would come into greater prominence in the next couple years that would solidify the genre as a whole, making this one of the most important and influential titles in the genre’s history. 　　 　　The songs here are all top-notch without much deviation. Opener ‘The Battle of Armageddon’ offers a fine sampled-battlefield effect before launching into a tight, crunchy mid-tempo blast of thrashy riffing and steady, thumping drumming twisting through vicious, twisting and biting rhythms taking the complex rhythms and dynamic change-ups along through the frenzied solo section into the mad thrashing of the finale for an absolutely stellar opening here. ‘Voices from the Grave’ features a savage mid-tempo crunch with a truly unrelenting series of drum-blasts that go alongside the utterly frantic riff-work that takes on plenty of thrashing up-tempo patterns as the dynamic rhythm changes into frantic full-throttle blasting in the final half for another truly enjoyable effort. ‘Sadistic Sinner’ rages through intense, frantic riff-work and blasting drumming at a full-throttle tempo with dynamic rhythm changes as the furious riff-work charges along at a steady pace with the frantic patterns flaying along through the frenzied solo section on through the mid-tempo charging of the frantic finale for another stellar track. The utterly frantic ‘Incubus (Opprobrium)’ features tight, raging thrash and explosive rhythms with the utterly blasting drum-work and frenzied razor-wire riffing featuring scalding rhythms full of severely discordant riff-work alongside the blistering drumming soon settles into a fine mid-tempo chug that blasts back into the frenzied final half for a truly chaotic and frenetic effort. 　　 　　The second half as well contains as much good stuff as the first half. ‘Blaspheming Prophets’ features schizophrenic drumming and razor-wire thrash riffing that soon takes into a fine mid-tempo gallop with tight, crunchy riff-work and a series of scalding thrash riff-work bristling with spectacular mid-tempo riffing and dynamic soloing leading through the steady finale for a much-less chaotic but still highly enjoyable experience. ‘Hunger for Power’ uses a thumping mid-tempo charge with simple drumming and fiery riffing with plenty of frenetic thrash riffing that soon settles nicely into a bouncy mid-tempo charge with scalding rhythm changes amid plenty of blasting drumming bringing the furious drumming into the solo section as the frantic rhythms continue through the final half for a heavy, thumping and enjoyable effort. The utterly frantic title track utilizes raging mid-tempo riffing turns into utterly rampaging drumming with chaotic razor-wire riffing amid blasting rhythms and blistering speed-driven patterns that continually hammer away during the chaotic solo section and carries on through the charging finale for one of the most impressive and enjoyable efforts here. Finally, ‘Underground Killers’ uses a swirling razor-wire riff alongside blasting drumming that settles into a rather frenetic up-tempo series of rhythms with the minor melodic riffing in the mid-section to lead into the rather schizophrenic solo section blasting through the furious riff-work running through the steady final half which ends this one on a high note. 　　 　　This is one of the most essential and important releases in the history of the genre, not just because of the lasting influence it’s left behind by having scores of imitators taking cues from this release but also by containing such admittedly impressive material in the first place that it’s a truly timeless release, definitely worth picking up if you’re a true blue dyed-in-the-wool death metal fanatic or looking to get away from all the retro/throwback acts and give the real thing a chance.The debut full-length from New Orleans death/thrashers Incubus offers some absolutely engaging work that was simply beginning to take shape as the roots of death metal were still being explored and developed. While the music might still be considered thrash for the most part, the absolutely phenomenal work throughout here at developing the kind of tight, vicious thrash-based riffing gives this such a sense of boundless energy and full-throttle speed during their rampaging moments that there’s a genuine sense of chaotic energy apparent throughout this as there’s an unhinged and reckless piece of enthusiasm given to what’s on display here. This creates a series of savage, primitive riffs played at rather ferocious tempos all the while being augmented by blasting drumming and rabid, snarling vocals that are dirtier and far more demonic than most true thrash bands were doing at the time, truly giving this a feel more in line with where death metal was going than in staying in league with the thrash scene at the time. The groundwork for the genre is there in the unbridled speed and aggression that were to be found in the later works from the Floridian pioneers still experimenting with these sounds which would come into greater prominence in the next couple years that would solidify the genre as a whole, making this one of the most important and influential titles in the genre’s history. 　　 　　The songs here are all top-notch without much deviation. Opener ‘The Battle of Armageddon’ offers a fine sampled-battlefield effect before launching into a tight, crunchy mid-tempo blast of thrashy riffing and steady, thumping drumming twisting through vicious, twisting and biting rhythms taking the complex rhythms and dynamic change-ups along through the frenzied solo section into the mad thrashing of the finale for an absolutely stellar opening here. ‘Voices from the Grave’ features a savage mid-tempo crunch with a truly unrelenting series of drum-blasts that go alongside the utterly frantic riff-work that takes on plenty of thrashing up-tempo patterns as the dynamic rhythm changes into frantic full-throttle blasting in the final half for another truly enjoyable effort. ‘Sadistic Sinner’ rages through intense, frantic riff-work and blasting drumming at a full-throttle tempo with dynamic rhythm changes as the furious riff-work charges along at a steady pace with the frantic patterns flaying along through the frenzied solo section on through the mid-tempo charging of the frantic finale for another stellar track. The utterly frantic ‘Incubus (Opprobrium)’ features tight, raging thrash and explosive rhythms with the utterly blasting drum-work and frenzied razor-wire riffing featuring scalding rhythms full of severely discordant riff-work alongside the blistering drumming soon settles into a fine mid-tempo chug that blasts back into the frenzied final half for a truly chaotic and frenetic effort. 　　 　　The second half as well contains as much good stuff as the first half. ‘Blaspheming Prophets’ features schizophrenic drumming and razor-wire thrash riffing that soon takes into a fine mid-tempo gallop with tight, crunchy riff-work and a series of scalding thrash riff-work bristling with spectacular mid-tempo riffing and dynamic soloing leading through the steady finale for a much-less chaotic but still highly enjoyable experience. ‘Hunger for Power’ uses a thumping mid-tempo charge with simple drumming and fiery riffing with plenty of frenetic thrash riffing that soon settles nicely into a bouncy mid-tempo charge with scalding rhythm changes amid plenty of blasting drumming bringing the furious drumming into the solo section as the frantic rhythms continue through the final half for a heavy, thumping and enjoyable effort. The utterly frantic title track utilizes raging mid-tempo riffing turns into utterly rampaging drumming with chaotic razor-wire riffing amid blasting rhythms and blistering speed-driven patterns that continually hammer away during the chaotic solo section and carries on through the charging finale for one of the most impressive and enjoyable efforts here. Finally, ‘Underground Killers’ uses a swirling razor-wire riff alongside blasting drumming that settles into a rather frenetic up-tempo series of rhythms with the minor melodic riffing in the mid-section to lead into the rather schizophrenic solo section blasting through the furious riff-work running through the steady final half which ends this one on a high note. 　　 　　This is one of the most essential and important releases in the history of the genre, not just because of the lasting influence it’s left behind by having scores of imitators taking cues from this release but also by containing such admittedly impressive material in the first place that it’s a truly timeless release, definitely worth picking up if you’re a true blue dyed-in-the-wool death metal fanatic or looking to get away from all the retro/throwback acts and give the real thing a chance.Incubus were band in the early movement of death metal that are severely overlooked by death metal fans today. Maybe due to a pop band having the same name, or just lack of exposure, not a lot of people talk about this band, but that doesn't change the fact that their first record is a classic. 　　 　　So, if this record is classic, what makes it so? Just listen to it. How can one go wrong if it sounds like early Morbid Angel with a larger thrash influence, and sharp execution? If you answered with anything other than "you can't", you're wrong. What we have here is a record full of awesome songs, memorable riffs, all with sharp execution to make a convincing attack. Sounds good, doesn't it? 　　 　　Putting on the first track, "The Battle of Armageddon" may mislead the listener at first with it's mid-paced intro at first... however, it's clear already that Incubus plays some pretty fine riffs. About a minute-forty in, Incubus kicks it into high gear, and lets you know what they're all about. Ripping blast beats further propel high speed thrash riffs and thus, one's neck will suffer trauma. Even the bass playing is noticeable and does a fine job at filling out the sound. Just as you think a song can't get any better, a deadly solo comes a long and absolutely tears everything up. They seem so in place and really add to the intensity of a song, just like any fast death metal solo should. The solos are well written, as are the songs. Obviously, these guys took their time to make sure their songs had a sense of direction. 　　 　　The band has accomplished the most important part of making a great record with dynamic and well-planned arrangements, but do they also succeed in the riff department? Obviously, yes. These riffs have a lot of staying power, and are all well defined from one another. This is achieved through use of various strum patterns and rhythms integrated within the riffs. Although there are a good number of tremolo picked riffs, there's a lot of extreme-thrash style picking, palm muting and all sorts of dynamics within each riff. Combine that with good phrasing and a speedy approach, there's a lot of damn great riffs to be found here. Incubus also utilizes their riffs as a lead instrument for vocals at parts. Their namesake song displays this as the chorus goes "IN-CU-BUS!" right along with a punchy guitar riff. The next track, "Blaspheming Prophets" also displays this well. 　　 　　Speaking of vocal parts, the vocal approach on this album is great, because it's not really typical for death metal, but manages to work in the band's favour. Instead of lower vocals, the band utilizes a mid-range style of shouts that still have a good distorted edge. This is effective especially during fast vocal parts, as clarity is present and the lyrics are relatively easy to decipher. Incubus has some pretty evil sounding lyrics, thus this is a great thing. 　　 　　It's pretty obvious by now that these guys know what their doing. The playing here is at a really high level of skill. Drums are executed at high speeds and have quite a lot of precision too them. Not to be confused with a drum machine, as the performance here still sounds human. The blast beats on here sound really great, which again always makes me think of early Morbid Angel. The guitar work as mentioned is really dynamics, and are executed flawlessly. And as mentioned the bass is audible enough to hear that it is played with competence. 　　 　　The skill of these guys is heard well through the production. It has a bit of a Slayer/Morbid Angel style of production, where the guitars are focused less on bass and more on mids/highs, and the bass fills out the rest. 　　 　　This album is worth anyone's time who's into real death metal. What makes this so cool is you can really hear those thrash roots being utilized fully on a death metal album. It's too bad Incubus never released more than two LPs, because this album is so well done.This is one of the best records of 1988, along with Bathory's "Blood, Fire, Death", and Death's "Leprosy." Louisana's Incubus created a masterpiece of deathly thrashmetal that was way ahead of its time. 　　 　　The record starts off with "The Battle of Armageddon" a track that opens with a small intro that conjours up images of horse drawn chariots engaged on an ancient battlefield that culminates in a tremedous breaking of glass. Then the song kicks into a fast riff, then a killer mosh riff, then a hypersnare drum part reminisent of Sepultura's "Bestial Devastation" or Sodom's "In the Sign of Evil." Drum god Moyses Howard's performance on this record is amazing. The vocal delivery of Bassist/Vocalist Scot W. LaTour is also really cool, as he has quite a snarl to his delivery, but not a full-out growl, somewhat similar to Jeff Beccera of Possessed, but definately with his own sound. 　　 　　Most of the tracks on this record consist of a mixture of slamming breakdown riffs or high speed hypersnare, sort of like the NYDM scene (Suffocation, Internal Bleeding,etc.), but before it existed and with a heavy thrash vibe (Kreator, Sepultura, Sodom, etc.) that makes the sound of this record so unique for when it came out. Although every track on this record slays, some standout tracks are the aforementioned "The Battle of Armageddon", "Sadistic Sinner", and the title track "Serpent Temptation". 　　 　　On "Sadistic Sinner", Latour delivers some really killer lyrics with a very twisted sounding conviction to his voice. "He taunts my soul and he twists my mind, The blood of my victims is all they can find, I dismember the body as its blood is being sprayed, I gaze in splendor at the mess I have made." 　　 　　"Serpent Temptation" has a very intense main riff through the majority of the track, and lyrically touches on the biblical story of "Adam and Eve" with a slant towards Christianity, but without being as preachy as say Vengeance Rising used to be, or as Mortification is to this day. 　　 　　"Serpent Temptation" in its original form (The 1988 release) was definately a groundbreaking fusion of thrash and death metal, but it never saw a proper distribution and was buried in obliveon. 　　 　　On a final note, the re-released version of this record in 1996 on Nuclear Blast/Radiation Records is not the same record as the 1988 release on Brutal Records in the US and on Metalworks in the UK. The re-release has many lyrics changed to be less violent and new vocals from Guitarist Francis Howard, who's style is a bit to close to Max Cavalera to be considered unique sounding. Also the guitar tracks were re-recorded and are cleaner, but has less "bite" than the original guitar tracks.