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Posts Tagged ‘metal’

Re-Review: Monstrosity – Millennium (1996)

https://i.ytimg.com/vi/KZc1qAFCMyA/maxresdefault.jpgTime sure flies, doesn’t it? Millennium had the honor (?) of being the topic of my first non-introductory post on Invisible Blog, therefore predating pretty much all of the traditions I established over the years. My opinions on it have evolved over the years, but I figured it might be good to give this a more informed and more detailed look given just how long it’s been since I first listened to this. After all, my initial rationale for listening was entirely due to this being the spawning point for George “Corpsegrinder” Fisher, who promptly joined Cannibal Corpse after recording this album.

Compared to Cannibal Corpse, at least their contemporary albums, Millennium showcases a more clinical, technical take on death metal, favoring intricate rhythmic interplay and a hint of melody. It’s definitely not the faster, looser style that CC seems to have preferred at the time. In fact, I still think Deicide, especially on Legion is a closer match for this substyle of death metal, at least on a deep structural level. Monstrosity unfortunately has to labor under a deeper, bassier, muddier production that I don’t feel is particularly well matched to this specific style. To be fair, the mixjob is competent and actually shines on the slower parts of this album (in particular, “Fragments of Resolution”), but to push the Legion analogy further, I’d apply that album’s overall sound to this one in a heartbeat if I could.

Despite my initial lunge for Monstrosity’s music, Millennium took more time to gel in my brain than initially expected. Despite out-teching most of its apparent inspiration from the early ’90s, this is still a sparse sounding album that doesn’t have many gimmicks to distract from its death metallic bread and butter (the closest, perhaps, being occasional bass solos). When Monstrosity succeeds here, it’s because of a few things – first, they have a relatively expansive sense of songwriting – not full on prog, but varied enough to help keep the metal interesting. Corpsegrinder helps, too, although his expertise here is more in providing a standard death metal growl and doing it really well than being especially dynamic. This album’s MVP, however, is probably the drummer – one Lee Harrison who has briefly performed with a couple of more famous acts, but has generally spent his musician time here in Monstrosity. He exemplifies the instrumental prowess and varied performances that make Millennium worth a listen more than any of the other band members. I have to preface my praise of drummers with the claim that they usually don’t draw my attention, and this is no exception, but it does not in any way diminish his contributions to the skilled instrumentation that propels this album.

The novelty of Millennium‘s music and lineup have long since worn off, but ultimately, this album is solidly built, and it will hold your attention with (ironically) its attention to detail.

Highlights: “Devious Instinct”, “Manic”, “Mirrors of Reason”

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Skeletonwitch – Beyond The Permafrost (2007)

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Skeletonwitch is one of those rare bands I learned about because I saw their logo on someone’s t-shirt at college. Even after investigating and reading a lot of complimentary reviews, though, it took me years to actually listen to them. Turns out that at least on Beyond the Permafrost, they sound like an Americanized take on the “melodeath” that was relatively popular last decade. Makes sense for a band that comes from Ohio, right? There’s a lot of subtle genre mixing going on here, for better or worse, and how you take that is probably going to play a major role in how you ingest this album.

What initially stuck with me when I first listened to Beyond the Permafrost was the quality of its instrumentation. This is still the case now that I’ve given the songs here some time to digest. Of all the musicians here, the ones handling guitars and vocals stand out the most, which is admittedly pretty common in the metal world. Last week’s review (From Beyond by Enforcer) had some flashy guitar work, but this album pushes it further. It’s not as consistently melodic, presumably due to the major infusion of death/thrash metal technique, but the overall frilly ornamentation and shreddy solos (read: “Soul Thrashing Black Sorcery”) feel similar in purpose despite the different genre. I also appreciate the mixture of vocal techniques – both low growls and higher pitched snarls. These are occasionally mixed together for some neat interplay, which helps add accents and texture to these songs.

Interestingly enough, Skeletonwitch’s songwriting reminds me of my own, in that they rely on relatively short songs with lots of unique sections. It’s a technique I don’t see all that often in the metal universe – most of the time, the complicated song structures are used to scaffold long epics. At 36 minutes, Beyond the Permafrost‘s 12 songs go by quickly, and the band doesn’t spend all that much time on any one of them. This isn’t without its flaws, though – many of the shorter songs feel like they conclude before they’ve had time to properly develop their ideas. I guess it’s a good thing that Skeletonwitch is throwing in enough ideas that they could extend their songs. A quick look at their discography suggests the band hasn’t really changed up this approach.

In short, Beyond the Permafrost is mostly good, but it does feel underdeveloped at times. There’s enough solid cuts on here that fans of undifferentiated extreme metal should find at least a few favorites in its (limited) depths. It’s also a reminder to myself that whenever I’m composing, I should give my music as much time as it needs to convey its ideas and not be tempted to declare a song “finished” too early.

Highlights: “Under Wings of Black”, “Soul Thrashing Black Sorcery”, “Remains of The Defeated”

Enforcer – From Beyond (2015)

Enforcer-_From-Beyond.jpgOne of the weaknesses of my deluge of content at DMU is that if I wanted to get my review of an album out when people were still buzzing about it, I had to really book it. This didn’t give me a whole lot of time to analyze and digest the music. Case in point: Enforcer’s From Beyond. My initial appraisal was fairly positive – I was able to appreciate the album as a tribute to early ’80s traditional and speed metal, although with few aspirations beyond that. There are tons of competent rehashes of past metal glories these days, though. What does Enforcer bring to the table? Is it worth it? Why am I in the habit of ending the first paragraph of these reviews with a question?

The first sign Enforcer might be onto something good was the fact I put From Beyond into my listening rotation after its ‘review’ period. Admittedly, that might’ve just been because the total package is well polished, as previously mentioned. The album’s production is generally excellent; while there’s not much space for the bassist, everyone else is clear and audible. The distortion and overall aggression levels aren’t as intense as some of the recordings this one seems to channel, but they’re fine for the genre. The musicians here perform well, too – the guitar parts in particular catch my interest with their heavily ornamented riffing reminiscent of some of the more technical NWOBHM bands. I could poke some minor holes here, but Enforcer’s approach here is definitely viable for what they’ve set out to do.

Ultimately, what cinches the deal for me is that Enforcer is very good at writing pop metal, admittedly with (or perhaps because of) some occasional concessions to more complex and ambitious songwriting. They definitely stick to a set of basic formulas, and in particular to song title choruses like paste sticks to the teeth of kindergartners, but the execution is top notch. It inspires me to pull out my usual turns of phrase for when a band is good at writing pop music- “microvariations” in particular, and also a brief shout out to Enforcer’s ability to play in keys other than those their guitarists tune to. That shouldn’t be an issue for metal bands, but a lot of times it is, and in other recordings it often ends up bugging me more than it should. But that’s definitely not a problem here.

So I’m willing to say that Enforcer won my attention by doing their job really well. I wouldn’t be surprised if they built up their craft over their previous albums, and nor would I be surprised if any future work continued down this shining path.

Highlights: “Destroyer”, “Undying Evil”, “Below The Slumber”

Blut Aus Nord – The Work Which Transforms God (2003)

the-work-which-transforms-god-53f308335a34a.jpgQuite a bold claim for an album title to be making, am I right? The Work Which Transforms God is the second of Blut Aus Nord’s “industrial” albums, taking the band’s mastery of otherworldly ambience and contorting it into unholy nightmares. As a general rule, it is dissonant where the band’s earlier works were consonant and melodic, chaotic where the previous ones were orderly, but it otherwise retains most of the musical language of those illustrious works. This juxtaposition of genres and the band’s success in keeping their dreamscapes alive are almost certainly the best reasons to give this one a shot, but is that enough?

The impression I get from The Work Which Transforms God nowadays is that it’s scatterbrained compared to its predecessors. This is mostly from a perspective of composition; TWWTG is unyieldingly consistent in its overall production – which tends clean and sterile with hints of dissonant wailing and gnashing of teeth in the distance (more on that later). It’s the songs that wander all over the place, cramming together every stylistic variant you can wring out of a black/industrial metal fusion. On some level, I suspect this makes for a shallower experience, but I’ve long since established that I’m a sucker for this sort of fusion. It’s an easy way for Blut Aus Nord to worm their way inside my head, even if the ‘industrial’ side of this album is more towards the crushing, sludgy, even monotonous sort of music popularized by bands like Godflesh.

In short, this is an album where I can’t really bring myself to accept what could actually be a pretty serious flaw because everything else pushes my buttons. I wonder what that says about me? The other elements really are on point, though. The ambience in particular is delightfully sick and twisted, and not even through especially arcane techniques, although the combination of dissonant riffing and broken beats is presumably harder to get working than more conventional techniques. Blut Aus Nord sometimes manages to recapture the songwriting prowess of their earlier work here, making for a few tracks that retain some value as I penetrate their dissonant depths. However, too much of this album either dissolves into incoherent nonsense, or otherwise stagnates into a death march (read: “Procession of the Dead Clowns”). That definitely wasn’t a problem before.

I guess it could be worse – I’ve heard that this album’s successor (MORT) goes completely off the rails. Is the lesson there that it’s good to have some boundaries in your creative efforts? Probably. The lesson in The Work Which Transforms God is (arguably) that you should be careful when experimenting not to lose sight of how to organize your results.

Highlights: “The Choir of the Damned”, “Axis”, “The Howling of God”

Triptykon – Eparistera Daimones (2010)

folder.jpgI’ve labeled a couple of the albums I review on Invisible Blog to be ‘exaggerations’ of their predecessors and ancestors, but Eparistera Daimones might be the first I’ve covered where the creator (Tom Warrior of Celtic Frost fame) would definitely agree. I remember that my initiation into metal music came about the time that he started this project. Tom tells us that Triptykon was planned from day one to continue Celtic Frost’s overall approach on Monotheist, but was also intended to make things even heavier, darker, and more aggressive.  Sounds like an easy, crowd pleasing, almost populist plan! You know how those go.

Eparistera Daimones wastes no time stating its intent, leading off with the 11 minute “Goetia”, and following it up primarily with extended songs in a similar vein. This might not be the best idea, since Monotheism‘s monophony places some limits on the band’s songwriting options from the bat. Triptykon, being essentially Celtic Frost, though, at least recognizes this problem and uses the same differentiation techniques that its predecessor employed – massive dynamic shifts, vocal histrionics (male and female), tinges of electronics, and so forth. Despite all my claims of similarity, there are at least a few new ideas here, at least relative to this incarnation of Warrior’s musical efforts – “One Thousand Lies” comes to mind for its velocity in what is otherwise a funeral march of an album. Still, this one’s for the doom metal enthusiasts – if slow and crushing isn’t to your tastes, you face an uphill battle trying to acclimate to this one.

To be honest, I was expecting to be more critical of Eparistera Daimones in this review. Its failure to solve the systematic problems that plagued its predecessor are admittedly pretty damning. I think what undermined that impression, though, is the fact that it at least stays the course. It doesn’t add further flaws (which could’ve happened – this album was brought to you by some of the people who made Cold Lake), and at some points it even makes small refinements to the new Celtic Frost formula that help a bit with the overall results. In short, there’s nothing overtly and immediately wrong with this album, and I actually do like quite a few of the tracks here. I’m not sure I’d put it even on the level of Monotheist, though. Maybe I’m just being petty and removing imaginary internet points because this album is a redux, but there’s not much I can do about that, short of a concerted effort to be less arbitrary as a reviewer…

Highlights: “Abyss Within My Soul”, “One Thousand Lies”, “Myopic Empire”

Sarpanitum – Blessed Be My Brothers… (2015)

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Some months ago, I described Sarpanitum, at least on this album as a bastard child of Mithras, on account of the two bands sharing some members. At the very least, this incarnation sounds like it was influenced by Mithras; I lack the familiarity with this band’s previous album I’d require in order to extend that hypothesis. Blessed Be My Brothers was something I considered reviewing during my tenure at DMU, but I never got around to it, and in the end it fell on more critical ears than my own. A mere 18 months later, I can now write coherently about my experiences. In Invisible Blog terms, this is not all that much of a delay.

If you’re familiar with what Mithras sounds like, you’ll have reference for about half of what Blessed Be My Brothers does – this album shares the same base of Morbid Angel (Steve Tucker era in particular) flavored death metal with a wall of sound production and some ambient/psychedelic sounds mixed in. Sarpanitum’s major addition to this formula is a focus on consonant melodies… about half the time. They literally swap between the more percussive/atonal riffs and melodic ones on a regular basis. This is both a blessing and a curse – song sections are individually very strong, and when properly sequenced it makes for effective illustration of the album’s lyrical themes (the crusades in the Middle Ages); a clash of armies if you will. When it doesn’t work, though, Blessed Be My Brothers takes a turn for the random and nonsensical.

It looks like Sarpanitum ended up taking a more difficult path than its musical kinsmen. Usually, I would say that not resorting to genre bending is harder than the alternative, but Mithras was already engaged in this sort of thing to some extent; Blessed Be My Brothers just pushes it further. One thing I can say for sure is that this album made a very strong first impression on me – the mix of extreme death metal antics (with better, if admittedly more conventional vocals than the Mithras formula, too!) abruptly giving way to the metaphorical heavens opening at the 1:30 mark in “Glorification Upon the Powdered Bones of the Sundered Dead” is not the sort of technique I can easily resist. Sarpanitum puts in at least one of these in each song, and they were enough to hide the cracks in the compositions for quite a while. Even figuring out where the songwriting needed extra thought and care isn’t going to make these individual sections disappear. Ultimately, they’re enough for me to recommend this album, but who knows how much more shelf life this album has left in it?

Highlights: “By Virtuous Reclamation”, “Glorification…” (I am not copypasting that again), “Malek al-Inkitar”

Strapping Young Lad – Alien (2005)

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When it comes to Devin Townsend related content, I have to admit that it took me quite a while to warm up to Alien. I wouldn’t have expected that to be the case, honestly – it predates both Ziltoid the Omniscent and Deconstruction by mixing both his extreme metal and progressive rock styles, and is more intense than either, even if it does so by mostly emphasizing the former. You’d think that I (even my past self) would fall on this like a swarm of locusts, so what gives? Unfortunately, I don’t remember what I was complaining about in the past…

As mentioned, Alien leans more towards the Strapping Young Lad aesthetic – listening to it is a good way to get your daily extreme metal dosage, between the incisive guitars, shrieking Devy, and the always appreciated percussion work of Gene Hoglan. If you’re familiar with previous SYL material (City is a good bet), you won’t be too surprised what by what’s on display here. The production is a bit trebly and hissy for my tastes this time around, but it’s still appropriate for this sort of band. What strains it, most likely, is the massively enhanced keyboard/symphonic presence. I’ve hinted at it before, but for whatever reason, a decent chunk of Devy’s other interests leaked into Alien, resulting in the only metal album I’ve listened to that incorporates xylophones into the songwriting.

The instruments aren’t the only part affected, as Alien usually has more complicated and intricate arrangements than its SYL predecessors. When you combine this with the stereotypical SYL sound, you get a potentially overwhelming album that’s definitely draining to listen to listen to all at once (even without the 12 minute info dump at the end). I don’t remember experiencing similar distaste for Deconstruction, though, but I have two hypotheses as to why that was the case. First, my experience with Alien predated the release of that latter album by about a year. Second, Deconstruction does have the benefit of 6 extra years of experience and education on Devin’s end. A meeting of more experienced and ready minds can definitely come in handy, and for whatever reason Alien really does feel more … alien than a lot of SYL content, even once I’ve gotten more accustomed to its approach.

Ultimately, time heals everything, and just as I was able to appreciate a great many albums more once they’d sunk in a bit, so was I able to warm up to Alien‘s charms. It might help that I’m receptive to the works of Devin Townsend in general. I still think the first half of this album is better than the second, though, so I guess we’ll have to deal with that.

Highlights: “Skeksis”, “Shitstorm”, “We Ride”