Puns aside, NON frequently oscillates between melodic death and symphonic black metal. Tracks like “Corporealisation Threshold,” “Deadened and Scarified” and “Excoriating Reality” channel the guitar-forward spirit of Omnium Gatherum or Mors Principium Est, while others are forged in the cold 90s-era symphonic black mold of yore (“Black Dawn,” “The Befouled Ziggurat of Non”). Desoration even finds room to pepper in the punchy, rhythmic grooves of Lamb of God (“Beyond the Veil of Sleep”) or the operatic brutality of Fleshgod Apocalypse (“Singularity Ritual,” “Interitus the Herald of Ruin”). Regardless of NON’s stylistic lean, Desoration fortifies every note with pinpoint accuracy, as high-velocity picking, assaulting blasts and syncopated chugging underpin dramatic synchestral flourishes. The orchestral arrangements act as NON’s nexus, fueling the record’s kinetic energy with both urgency and dramatic intensity. Though Desoration’s sound doesn’t break new ground, the formula works as a whole, relying on instrumental prowess to keep the listener locked in.
Great albums live or die by their songwriting, and the writing on NON is solid. “Singularity Ritual,” “Those Who Dwell in Darkness” and “Interitus the Herald of Ruin” thrive on sharp hooks, cavalry-charge gallops and solos brimming with bright, sweeping scales that put Desoration’s talent on full display. “Corporealisation Threshold,” in particular, reaches its zenith during a synchronized closing battery of percussive riffing and double-kick work. It’s a necessary jolt of energy that arrives just in time, delivering the adrenaline spike I found myself chasing through the preceding tracks. While the writing isn’t perfectly consistent across all eleven songs—”Beyond the Veil of Sleep,” for instance, lacks hooks and “Black Dawn” is far too long—NON overcomes these lulls through Desoration’s sheer talent and an obvious command of the melodic death sound.
Favoring a synthetic sheen, NON’s main weakness is its production. While a sterilized production style is a common aesthetic that many bands seemingly adopt for convenience, here it results in an overly digitized sound that quickly becomes tiresome. In fact, I spent my entire time with NON craving the dynamics Desoration abandoned in the editing room. Aean Campbell’s vocals are adept and hit all the standard death beats, but they sit so far forward in the mix that they drown out much of the instrumental nuance, particularly the guitars. The biggest tragedy, however, is the drums. Bennett Jones’ performance itself is stellar, but the tones are a disaster. The toms sound thin, and the cymbals are a wash of static. It honestly sounds like they plugged in a Roland electronic kit, hit “record” and called it a day. It’s a shame that low-effort tones bury such high-level playing. I understand the necessity of working within tight constraints to achieve a pro sound on an indie budget, but production this over-processed takes a toll on my feathery ears.
Desoration is a young act that radiates promise and NON proves these Kiwis possess the pedigree to compete globally. It’s frustrating that the production prevents the album from reaching its full potential. However, if you can look past this blemish, you’ll find a good melodic death record with solid songwriting and impressive performances full of symphonic carnage. NON firmly establishes Desoration as a group to watch.
Rating: Good
DR: 5 | Format Reviewed: PCM
Label: Self-Released
Websites: desoration.bandcamp.com | desoration.com | facebook.com/desorationmetal
Releases Worldwide: February 6th, 2026
