This is a very confusing record. It involved parties Jorgen Sandstrom (ENTOMBED), Kenth (Lord K) Phillipsson and Dan Swano producing, which gave me high hopes for the "project". However, there seems to be a piece missing here, or maybe there are too many pieces, and it is hard to tell exactly which.

Musically what we have here is a failure to communicate. TPH gives us death metal, not just any death metal. "Armageddon March Eternal" presents the new rage of ‘Beauty and the Beast’ vocal arrangements from Sandstrom and Encknell, as well as a one-man band represented by Phillipson, complete with programmed drums. Kind of a mouthful, ain’t it? Not that it ain’t crunchy, and not that it ain’t fast and hard. But when the programmed drums kick in with the operatic female vocals, keyboards, samples, Don Knotts, and the kitchen sink (ok, I made up the Don Knotts part. Just wanted to see if you'd perk up for that one), it’s just damn confusing. I don't have a problem with mixing genres per se, but deciphering all of this is more like calculus than enjoyment. Is it only this humble reviewer’s opinion that death metal combined with clean female vocals and programmed drums packs the same charm as a peanut butter and thumbtack sandwich?

Well, on the plus side, most of the tracks clock in at an average of seven minutes, with many twists and turns, and it's never a boring affair. Sandstrom’s death vocals are tops for the genre, avoiding a generic sound. He pulls off the twisted-and-evil vibe, and in comparison to the angelic voice of Encknell, it is like night and day. The crunch of “Godslaughtering Murder Machine” takes on a SLAYER \ DECIDE feel, and the clean vocals take a back seat. Even though the drums are programmed, they sound more "alive" on this track than many of the others. “I See Nothing but Flesh” hits with more of a MESHUGGAH and FEAR FACTORY vibe, which includes samples and electronica. The guitar work in back-to-back songs “Resurrected for Massive Torture” and “We Couldn’t be Further from the Truce” sparkles with intensity and drama, but when it succumbs to the ambient parts, the sails lose some of their wind. I guess it's the disruptions in flow that grate on me for the most part while listening to this disc. Some of the transitions could use more, um...transition.

With all the bands that are doing this ‘Beauty and the Beast’ thing, I suppose it can be considered a new genre (would someone name it already?). Honestly, if you are into THE GATHERING, CRISIS, MY DYING BRIDE, DARK TRANQUILITY and the like, you might really dig this one too. Not a terrible disc by any stretch, but the juxtaposition of styles feels like too many cooks spoiling the soup.

- Murtaugh

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