Clairvoyance Drag You Into the Void on Chasm of Immurement

Clairvoyance are about to drop their first full-length album, July 18 on Carbonized Records, and holy shit, it rips. This isn’t just some decent follow-up to a promising EP. This is a full-on 34-minute descent into the filthiest corners of death metal. Grinding, pulsating, writhing riffs. Blast beats. Gutturals so low they feel like they’re burrowing into the floor. Chasm of Immurement is ugly in the best possible way.

If you’ve been around my reviews or socials for more than five minutes, you already know I love nearly every twisted corner of the metal spectrum. But let’s be real: my blackened little soul lights up every time I get my hands on some no-frills, old-school-style death metal. Clairvoyance delivers six tracks of exactly that. This shit feeds my rotted soul.

This thing’s been wrecking my headphones since the moment it hit my inbox. I’m not exaggerating when I say it destroyed me in the best way. For a debut, it feels alarmingly dialed in. Like a band that knows exactly how much damage they’re trying to do.

Let’s talk about that cover art. Paolo Girardi absolutely nailed it. He’s the same guy behind artwork for Creeping Fear, Skaphos, The Black Dahlia Murder, and a pile of others. This one? It looks like the music sounds. Grim, chaotic, and violent. You don’t just look at this cover. It pulls you in and swallows you whole. If you’ve got any idea what kind of death metal you’re stepping into, this thing paints it perfectly.

The album opens with “Eternal Blaze.” It doesn’t go straight for the throat, instead dragging you in with that slower, mid-tempo churn that defines a lot of what’s to come. Subtle pinch harmonics cut through here and there without getting flashy. Gutturals so low they’re practically infrasound. If you came looking for pig squeals and goofy koala grunts, you’re in the wrong place. This is straight-up old-school filth, and the vocals are buried just deep enough to make you feel like you’re being smothered under it.

Track two finds its groove and leans hard into it. You get eerie, ghost-like leads hovering over a thick rhythm section before it shifts into a faster pace that had me nodding like an idiot. Somewhere around the halfway mark, I caught myself making stank face and almost windmilling into my desk. The beat breaks into a slow gallop, then crashes into a knuckle-dragging section that nearly had me starting a solo circle pit in the studio.

“Fleshmachine” is exactly what it sounds like. It opens with another slow, grinding crawl that hits just right. Nothing feels recycled. Every moment adds weight to the album’s atmosphere. That album cover? This is the sound of being dragged down into it, face first, with no way back up.

Some people are going to complain about the vocals being too low in the mix. Let them. If you need clean clarity in your death metal, you probably wandered into the wrong genre. The buried vocals don’t take away from the experience. They reinforce it. The whole album feels like it was recorded in the basement of a collapsing cathedral, and the way the vocals are layered just adds to that suffocating, oppressive vibe.

“Reign of Silence” is the fastest track here and the one most likely to light up the pit when these guys hit the stage. It opens with a brutal pace, then slams into a slower, dragging section that carries through most of the second half. It’s a tension break that still feels heavy as hell.

Honestly, there aren’t any clear standout tracks — and that’s not a bad thing. Every song has its own mood and momentum, but they’re all cut from the same blood-soaked cloth. The tone, the tempo, the pacing… it all locks together. There wasn’t a single point where I wanted to skip ahead or check the tracklist. Each song earns its spot, and nothing overstays its welcome.

If this is Clairvoyance’s opening statement, the rest of the scene better pay attention. This isn’t just a good debut. This is a warning shot. They’re not here to test the waters. They’re here to take heads.