When something begins with two minutes of blastbeats and guitar swirls, then takes a short break and finishes the song off with more blastbeats, you have to pay attention. No other way. And you just keep hoping that, whatever it was, it doesn't end. Luckily, Paimonia do not end the intensity, all until the last breath (a tasty instrumental outro). There are no "introspective" slow pseudo-intellectual parts to make you skip a song. If you are looking for shades and nuances, look for them inside the chaos, not outside. Two guitars create their own labyrinth of clinically precise but septically poisonous riffs, occasionally going into a staccato, as if turning around for another attack. The screams are merciless, the bass is present if you are really looking for it, but the midrange strumming artifacts are definitely noticeable. For better or for worse, depends on how whether you are enjoying or suffering. Above all this, add an occasional acoustic passage, fluid solo and even some violin, which actually just make you feel worse, and you're getting probably one of the best black metal albums to come out of Serbia.
Having said that, there is one obvious flaw - even though you will be left thinking you've heard old Blut Aus Nord on speed, backwards, you will probably not remember much afterwards. Like, any particular stand-out part. Complex and intricate, yes. Sophisticated, yes. Excellent, of course. Brutal, don't even ask. But not too memorable or connecting to the listener on any emotional or spiritual level. However, when you are feeling particularly nihilistic, Disease Named Humanity is everything you will need.
Source - Funereal Drone