Unearthing the Slow Doom: A Deep Dive into Symmetry of Our Plagued Existence by Victims of Creation
- Noel Mifsud
- Jun 16
- 3 min read
When the Maltese doom/death metal band Victims of Creation finally unleashed their long-gestating debut album Symmetry of Our Plagued Existence on April 26, 2013, via Cyclone Empire (Catalog ID: CYC 112-2), it marked the end of a creative incubation that had lasted more than two decades. Formed in 1992, the band had long remained a name whispered only in underground circles, their existence almost mythic—until this crushing opus descended upon the metal world.

A review from Metal Temple captured the mystique best: “An unknown force incubating for a couple of decades finally awakens. Thus, presenting itself before our species, it stumbles upon the changes that have arisen since its cumbersome sleep. Victims of Creation is such a band.” While it’s often claimed that the band never released material before 2013, die-hard fans will recall a rare earlier track, “Lotions and Potions,” featured on The Core of Creation compilation released by Storm Records in 1996. However, this early effort featured a different lineup and sonic identity—making Symmetry of Our Plagued Existence the true birth of the band as we now know it.
The lineup on Symmetry of Our Plagued Existence featured Daniel Bartolo and AJ Burd on guitars, Rex handling both bass and vocals, and Dino Mifsud Lepre on drums. This formation brought a powerful chemistry to the album’s brooding, doom-laden sound. However, not long after the album’s release, Daniel Bartolo parted ways with the band. He was replaced by Emanuel Portelli, a prolific figure in the Maltese metal scene known for his work with bands such as Akem Manah, Animamortua, Hemplifier, and Thy Legion. His arrival hinted at a possible evolution in the band’s sound and creative direction. Yet, as of 2025, a follow-up to Symmetry has yet to emerge, leaving fans eagerly awaiting the next chapter in Victims of Creation’s slow-burning saga.

Clocking in at nearly an hour, Symmetry of Our Plagued Existence is a heavy, dirge-like voyage into the void—equal parts gothic melancholy and brutal death-laden aggression. The five tracks, many surpassing the ten-minute mark, function more like movements in a symphony than traditional metal songs. Each piece slowly unfolds, allowing dread and catharsis to build simultaneously.
Reviewer Luca Zakk of Metalhead.IT described it succinctly: “Heavy and lethal. Slow and aggressive.” He continued, “These melodic atmospheres are almost gothic, which then all of a sudden become brutal, damned, and torn apart thanks to the ability of a vocalist who is capable of a good growl, but also clean singing characterized by a voice that I definitely find pleasant in its melancholic and sad essence.”
Tracks like “Chapter XIII” serve as portals into a slow-moving hellscape—“a monumental exhibition of obscure concepts that are slow and hypnotic,” as Zakk noted. “Tree of Iniquity” stands out with haunting melodies and crawling riffage, while “The Art of Despair” plunges even deeper into doom-sludge territory, living up to its name with every tortured note.
Arguably the album’s emotional peak comes with “The Glorious Deceit”, which opens with ethereal clean vocals—a clear nod to doom forebears like Candlemass—before diving headfirst into melodic, decadent death/doom, perfectly showcasing the band’s dynamic range.

While Symmetry of Our Plagued Existence doesn’t aim to reinvent the genre, it masterfully embodies its spirit. The music is deeply authentic, a product of years of persistence, artistic solitude, and unyielding dedication. “They are definitely not the innovation, but their sound is authentic, powerful, and extremely enjoyable,” Zakk wrote. “Their sound is undoubtedly extremely efficient, perfect for the live scene and definitely worth the deal with a label such as Cyclone Empire.”
Given its atmospheric weight and layered construction, Symmetry is not just a debut—it’s a manifesto. The band channels their patience and pain into every second of sound, creating a work that is immersive, bleak, and unrelenting.

Despite the critical praise and underground support, the band’s sophomore release has yet to emerge. Updates trickled in as recently as November 2021, indicating that the second album was in development. But now, over a decade after Symmetry, no new material has surfaced.
The world waited twenty-one years for Victims of Creation’s debut. It was worth the wait. One can only hope the next chapter arrives sooner—and hits just as hard.
Until then, Symmetry of Our Plagued Existence remains a solitary monument, a chilling echo from Malta's doom-laden shores that proves good things come to those who suffer—and wait.
Listen to the album on Spotify
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