Hailing originally from Chile and now based in Denmark, Invunche is a one-man project calling itself "ancestral black metal". You'd be forgiven for expecting something like Soulfly from that yet the project is far more traditional in musical terms, sticking close to a black metal base and relying on that for most of its atmospheric impact. There's more punk influence than anything, Ildjarn's primitive racket being a noted influence, but Atavismo shows a more matured, considered approach from Martin "El Invunche" Valenzuela, the mastermind here. Although earlier releases from the band can be described as raw and dirge-like (and if that is what you're looking for, do check out those early self-titled releases, particularly II from 2018) there's a notable psychedelic element to the Invunche sound and Atavismo shows it off particularly well in its simple yet hypnotic assaults on the senses.

There's a much clearer production present on Atavismo than on previous releases (thanks to Eternal Champion/Sumerlands' Arthur Rizk) this being just the second full-length from the project, but none the lesser in heaviness as the opening scream to Antü shows before the battery begins. The track develops well, chants and melodic riffing highly effective in their own ways, and the album progresses interestingly from there, not least in the eleven-minute Elal which seamlessly follows, galloping along similarly before opening into an atmospheric peak with nearly clean-sung wordless vocals and some spectacular guitar soloing. Despite the length it holds your attention well and feels much shorter than its length, keeping things moving and engrossing even as it does a lot with simple ingredients. Another clear influence is Bathory, the likes of El Sol having a similar epic nature even as the band sticks close to the simple, repetitive, shaman-esque riffing to deliver the majority of its formula.

The psychedelic elements are often more hinted at than made explicit, such as how melodic interlude Pachamama enhances the experience with a little dose of variety and opens the door to the following La Luna well, increasing its already mystical impact. Últimos días especially has a punky, rock n roll base akin to Carpathian Forest that makes for a hugely enjoyable time, and the band's ability to smoothly transition between songs makes for an absorbing listen that makes moments like the (presumably synthesised) flute and percussion on Qhapaq Hucha a pleasant surprise, fitting the general classic black metal rumble without feeling as though they have been shoehorned in. A fine album from an intriguing project that promises to go from strength to strength, this was originally released independently before being given a physical release by the good folk at Nuclear War Now!