Dissection - Storm of The Lights Bane

Full Length, Nuclear Blast Records

1995 

Here I am reviewing an album that has been reviewed countless times. Majority of metal heads own this album, or at least they should. I picked this album for my second review because this album has always meant a lot to me as growing up and even still it is flawless and a masterpiece in my eyes. There is so much to say about this exquisite mixture of black and death metal.

Dissection formed in 1989 in Strömstad, Sweden and released 3 full length albums and numerous eps, live albums and demos earning themselves easily one of the most well known Swedish metal bands. Frontman Jon Nodveidt was convicted of murder in 1997 for which he had to serve 7 years in prison. Shortly after his release from prison in 2004, he resurrected Dissection with a new line-up and went on to create their last album 'Reinkaos' which was released in 2006. Reinkaos was a very different musical offering and it received a mixed reception from fans and critics alike. Just a few months after its release, Jon Nodveidt committed suicide in his Swedish apartment. It is said he killed himself because he completed all he wanted to achieve in life. In a way I agree with him because the two master pieces he created: The Somberlain and Storm of Lights Bane. Though the world of extreme metal lost a genius and a legend, his glory shall rest forever in our hearts.

It was an arduous task for me to pour my unending love for one of my most favorite albums in mere words but I somehow mustered the courage to do so. This colossal masterpiece entitled as 'Storm of Lights Bane' opens with a dark yet beautiful and haunting instrumental waltz intro "At the Fathomless Depths". It prepares you for the magnificent "Nights Blood" which begins with a perfect tom rolling drum while the guitars start off with a thrashy Slayeresque riff juxtaposed with melodic guitars which are reminiscent of traditional heavy metal a la Iron Maiden. Jon's lyrical brilliancy is another factor to praise with dark poetic lines like "I drown in the colour of your eye for a black heart will only find beauty in darkness" that will never leave your memory after hearing this song. His vocals are poisonous and scathing whilst being extremely soulful and decipherable. They blend perfectly with the guitar melodies and create a stellar and hypnotic effect on your senses. Another noteworthy factor is the implication of majestic acoustic guitar sections which creates a mystical atmosphere and relaxes you in the middle of the song while the tempo slows for the rest of the song. The most memorable song off the album “Soulreaper” is an icy and cold melodic blackened death masterpiece. Albeit the entire album is extremely memorable, 'Soulreaper' remains my favorite.

“Where Dead Angels Lie” is perhaps one of Jon's most epic creations. It's slow and mournful mood compels the listener to get lost in the arcane atmosphere which it weaves around oneself. "No Dreams Breed in Breathless Sleep" by Alexandra Balogh leaves to content and wanting to hit repeat on this beautiful, mournful piano piece.

I could seriously go on and on with these descriptions but then as I wrote earlier that describing a timeless classic like this in mere words isn't really possible. Their music is like a drug which hallucinates you and enslaves your senses with its grandeur. Nothing else would come closer to this magnum opus, ever.

The legacy lives forever.


Written by: Ruthless
Score: 10/10

Mitochondrion - Parasignosis

Full Length, Profound Lore Records

2011 

A band name as unusual and seemingly bizarre as ‘Mitochondrion’ might seem a bit odd to a few, especially to those who aren’t aware of these bestial Canadians. But let me tell you that this album is definitely one of the most disgusting releases you can ever hear. Its SO disgustingly heavy and chaotic, that it can easily demolish an entire scene with its gargantuan demeanor.

It is a well known fact that Canada has always been a major contributor to the underground extreme metal scene and has constantly churned out a lot of fantastic and unique-sounding bands. If Blasphemy taught the world how to play militaristic and uncompromising ‘‘war’‘ metal, then Cryptopsy wrote a new chapter in the codex gigas of death metal, stating new norms of playing intricate and complex brutal death metal.

When it comes to Mitochondrion, it is not just another ‘‘addition’‘ to the the abyssic pits of Canada’s extreme metal dungeon, but it is an addition to the art of extreme metal itself. I wouldn’t have made this bold statement until and unless I seriously acknowledged this fact after a thorough analysis, composing of many attentive listens. This young band, which started back in 2003 started to make an impression in the Canadian underground, with the release of their demo ‘‘Through Cosmic Gaze’‘ in 2006. The highly technical and brooding dark undertones on that demo turned a lot of heads and this encouraged the band to write their first full-length – the mighty ‘‘Archaeaeon’‘.

This release saw the light of day in August, 2008 and left my jaw split wide open with disbelief. That was the first time when I got acquainted with the band’s music and it simply rendered me speechless. Such was the dexterity and musical brilliance on that album, that I had started hailing these young turks as the next big thing in the underground, with a good reason of course.

‘‘Archaeaeon’‘ had unleashed a platter of destructive riff orgies, coupled with an insanely low guttural vocal assault, intertwined with an equally insane and nefarious high-pitched shriek and stupendous drumming. It was an amazingly weird album, consisting of complex and unexpected time signatures, subtle atmospheric melodies and an intensely heavy and raw production. It was an independent release which was limited to 666 copies, reflecting a somewhat clichéd attempt at being kvlt but heck, the album got sold out in a limited time after its release.

After making quite a staunch impression with their kvlt strategies and gruesome sonic assaults with the first two releases, these occult worshipers are back with their latest magnum opus, cryptically entitled as ‘‘Parasignosis’‘. Clocking at almost one hour, this album has certainly taken Mitochondrion’s trademark sound to a newer realm altogether and ensured more worries for my ears and jaw. There are certain times where I am bound to say Fuck you Mitochondrion, I have to salvage my hearing ability! but then, I so love to get destroyed. Its dilemmasizing, but for the sweet bastard I am, I let Mitochondrion annihilate myself.

‘‘Parasignosis’‘ is an enigmatic voyage to the unknown realms of this world. It’s an esoteric collection of pestilential hymns which only assures of an impending apocalypse. What leaves me so astonished is the way in which just an usual concoction of two guitars, vocals and drums have been able to construct such a heaving mass of audio terror. It almost gives me a feeling which a band like Portal possesses, but this is just much more brutal and superior.

The instrumentation has been given a stellar importance on ‘‘Parasignosis’‘. Cacophonous and eerie riffage has been heavily emphasized and the subtle melodies of “Archaeaeon” are totally gone. Sharp and turbulent low-end tremolos, pinch harmonics, incessantly heavy palm muted riffs and militaristic percussion are the instrumental arsenal on the album. These sterile elements have been fused so grotesquely that it churns an unfathomably evil and bombastic sound.

The songs are usually over five minutes long, for the exception of the intros (Part I and II) and the interlude, and they consist of a plethora of riff orgies which are carved in a highly unorthodox manner. Such is the musical execution that it just doesn’t allow the listener to get a slightest idea of the upcoming signatures. These oddities have been beautifully put together to manifest a disharmonic and highly discordant maelstrom of abstract death metal. Tracks like ‘‘Tetravirulence (Pestilentiam Intus Vocamus, Voluntatem Absolvimus Part III)’‘, ‘‘Trials’‘, ‘‘Parasignosis’‘ and ‘‘Banishment’‘ are stellar examples of these innovative and shockingly unorthodox structures.

Mitochondrion have successfully been able to carve a niche in the underground death metal scenario with their brand of elite and experimental dark death metal, especially with “Parasignosis” and I can’t recommend this enough to the appreciators of bands like Portal and Impetuous Ritual. This release is a perfect example of how experimentation and technicality should be employed. The ardent followers of the abominable trend of fretboard wankery-induced ‘‘technical’‘ death should better be exposed to the ritual executions of “Parasignosis”. This is how it is done lads! Learn the art of splendorous death metal craftsmanship from the mighty Mitochondrion or else leave the hall NOW!

Now, since you have stopped reading this essay, then make a move and get this fucking release!


9.5/10
Official Facebook:
https://www.facebook.com/mitochondrion137

Weapon (Can) - From the Devil's Tomb

Full Length, Ajna/Agonia

November Ist, 2010

2010 has been quite a spectacular year for metal so far, albeit it had a pretty quiet start. But it was just a hideous deception. Just like the calm before a ravaging storm!
During early November, I was scrounging forums and other internet sources for some of the best releases, the underground has seen this year and came across the latest Weapon album. For a moment, I was in a state of daze and the first words which came out of my mouth were - HOLY COW! A NEW WEAPON ALBUM! Whilst I was blown away by the new releases of Bloody Sign, Kerasphorus and Grave Miasma, a new offering by Weapon seemed far more enticing than those ones and I had to immediately pounce upon it. My love for this Canadian horde dates back to a recent time when I discovered their EP called as ''Para Bhakti...Salvation'' while digging up some Canadian congregations. That 2 track feature was astoundingly rapturous and I became an instant fan of their abominable executions.

Weapon's history dates back to 2003 when the mysterious Vetis Monarch formed the unholy ensemble to loathe divinity and build an empire of darkness and occult. The band was originally rooted in Calgary but now they are based in Edmonton. An interesting story is that their demo and the first 7'' were recorded in Bangladesh. The EP ''Violated Hejab'' also had Kapalyq from the relatively unknown (But incredible) Bangladeshi band Barzakh (Now Orator) on bass. As intriguing as it sounds, Weapon were nowhere behind weaving an aural web of destructive symphonies with their inceptive releases. The next release ''Para Bhakti... Salvation'', which had introduced me to this band, was the perfect advancement of the band's sound. You could sense the careful craftsmanship in the way these impious artisans drafted their desirable ritual ceremonies. What intrigued me more were the lyrical themes the band had employed. They focus towards satanism but also towards the occult and mysticism. Tracks like ''Archana'' and ''Para Bhakti...Salvation'' are staunch examples of the band's lyrical prowess where they have profoundly incorporated sanskrit verses to depict their faith towards devil worship.

Just a year after ''Para Bhakti'' had ruptured the Canadian/Worldwide underground, Weapon were ready with their first full length album which was entitled as ''Drakonian Paradigm''. This album was released by the Ajna Offensive which was a change from their previous label Full Moon Productions. Actually, they have had 3 different record labels for their first 3 releases but now they hopefully seem stable with Ajna who also released their 2nd full length feature. Drakonian Paradigm clearly unleashed the band's maturity as extremely skillfull musicians, who were profoundly adept in carving a niche in the Canadian bestial black/death legion.
The album featured 7 tracks, which ran through 40 minutes. This was a tad different in terms of production and this change must have been initated to support the more dense atmosphere the songs possess.
Tons of cryptic melodic leads and usage of nefarious chants on certain songs was clearly a top notch move by Weapon. It was an effort to make the sound more darkened and occult than the previous rituals and they nearly succeeded in achieveing this goal.

Now, just a year later, Weapon were ready with yet another full length. Yeah, quite a roll for them as there were 3 releases in subsequent years. I was extremely ecstatic about hearing the album and had my popcorns and nachos ready to await for one hell of a deathly ride. The moment when the first track ''From the Devil's Tomb'' emanated from the speakers, I started popping in the corns in my mouth in a trance like state and had to choke as a subsequent result. I hadn't even got a chance to revive fully, when I was shook with the riff frenzies and blastorocity the song offered next. The eloquent rhythmic carnage continued in such a suave manner that I lost myself completely into the beauty of this sonic frenzy. The elegantly nefarious tremolo picked riff orgies and leads had left me spellbound and I was ready to face the rest of this mayhem. 

The immediate ritual, named as ''Vested in Surplice and Violet Stole'' was increasingly emphatic with its stupendous riff laden destruction. I couldn't believe the amount of eargasmic ecstacy, these two opening tracks had already provided me but the next track made me ejaculate! Furor Divinus was its name and had a splendid chorus where Vetis apparently praised the name of Shiva, (as far as I could decipher) the lord of destruction. The amount of profoundity the album already possessed, left me overjoyed and zealous about the complete venture. Vortex 11724 continued the trademark melodic execution as employed in Bested in Surplice and Violet Stole and the beautiful acoustic interlude ''Left Hand Path Yoga'' acted as a soothing balm amidst the entire fury. 

''The Inner Wolf'' began in a war like demeanor with its opening riff and background chants. The entire track was a captivating combination of abrupt quick paced blast rhythms and mid paced sections. And I only had one word in my mind after each passing song - wow! But the album's grandeur had no boundaries and I got this feeling immediately after the next song ''Sardonyx'' began with an elegant Tabla intro. Those opening riffs blended absolutely majestically with the short yet powerful intro and then the commotion broke through. Riffs, riffs and more riffs - there seemed no end to those and there were still 2 more songs left! 

Trishul was the second last song on the album and it was followed by the concluding track - ''Towards the Uncreated''. Seconds after the song was unleashed to my auditory senses, I got a faint idea that this might be the best on the whole album! 

If I had addressed Weapon as skillfull artisans in my statements above, I had done nothing wrong because this last track exemplifies it by every means possible. They could not have have a better and more hypnotic end to an already spectacular album as it consisted some of the best moments, congregated together as one final ceremonial execution. 

Talk about satisfaction and ''From the Devils Tomb'' would provide you ample of it. Its the musical equivalent of a perfect sexual experience which would give you some of the best orgasms your ears could ever get. 

Enter the Weapon's horde NOW!

http://www.weaponchakra.com/

http://www.myspace.com/theweaponchakra