![]() Websites: 3 | facebook.In the past, the musician community didn’t hold electronic drum kits in high esteem. Label: Kvlt und Kaos Productions | Bandcamp 2 They have great chemistry and deliver music that makes it worth stepping into the snake pit. I, for one, hope this duo continues to release music. While the band stays true to the Scandinavian character of black metal, they aren’t afraid to toy with old-school thrashy builds and melodic flashes of beauty. It’s brimming with riffs, stellar performances, and dynamics that’ll shame most of this year’s prog entries. That said, Fossilized ensures you get your money’s worth. But these minor issues are only noticeable because of the strong songs surrounding them. And, though “Doldrums” has equally impressive drum work to “Averted Reality,” it meanders aimlessly. It has impressive tension, but it refuses to climax. While most songs deliver their desired expectations, “Prey” leaves men on the base. Then, everything collapses, unleashing Dissection/ Watain melodics that even one-up “The Lost Ones.”įossilized is a diverse collection of influences 1 that takes advantage of every riff the band can shove into its concise songs. More than any other song on Fossilized, the drums rule the roost, leading the charge from slower moments to a brutal, black metal strike. It has various stop-start moments that rebuild the song, including a touch of reverberated clean guitars. “Averted Reality” is a constant build blanketed in melodic atmospheres. These riff changes include a pavement-cracking guitar/drum combo, a midsection thrash attack, and a melodic, Dissection-esque fury of tremolos and drum work. Specifically “Averted Reality” and “The Lost Ones.” The latter track takes cues from “The Catalyst,” blasting out a nasty black metal intro before transitioning from one riff to another. The best of the bunch combines all Cruentus‘ elements. Then, it finally settles into a closing, thrash march. The closer begins with a nasty, mid-paced riff and overlapping vocals before releasing wild tremolos that charge down the fretboard. But, for all its ferocity, “Primordial Reprisal” is a monster. And the dynamics continue when all hell breaks loose with “The Catalyst.” The guitars swirl around like a storm of that black shit from Prometheus while the vocals alternate between shrieks and low growls. The opening instrumental, “Ascending,” is rich with crisp drums, bright guitars, and a gorgeous, melodic ending. But, being highly dynamic, the instrumentation is far easier to differentiate than in the old days. It tries for that old-school, low-fi production, which I, of course, love. Each song contains endless riff and mood changes, leaving my aching head spinning by the end.įossilized is no different. What makes it unique is that it sounds like 20 years of riffs forced into a gallon jug. In it, I find ten tracks of fast and mid-paced, Aura Noir-esque black/thrash that includes vicious vocals and occasional Dissection-like melodics. In 2020, they returned with their official debut full-length, Night Embrace Me. After releasing a couple of demos in ’98/’99, the band seemingly disappeared off the face of the Earth. Having never heard of this Swedish duo, I begin the procedure as I always do: I start at the beginning. It reads: Cruentus – Fossilized – black/thrash metal.Īfter putting the needle back into my arm and settling in front of my trusty Commodore 64 word processor, I begin the ritual. I close my eyes, anticipating the bite and venom in my veins, and grab the first promo off the top. ![]() Covered in sweat and reeling from the hangover induced by the hourly AMG hobo wine IVs, I approach the pit. I stare up into the desert sun, already exhausted from the thought of searching the pit for something to review. As the truck drives away, I see a hairy middle finger emerge from the window. The rattlesnake and scorpion problem is getting worse, making it more and more difficult to retrieve a promo. With each delivery, the new layer crushes the previous dumps into oblivion. The bed pitches back violently, distributing a fresh layer to the festering pile baking in the sun since 2014. Chipping away on the doors reads “Angry Metal Guy Promo Dump.” The truck backs toward the pit, the filth on the windows so great only a silhouette of the gorilla appears behind them. Steel‘s dump truck has arrived again, though forty-seven hours late. There I am, standing on the loading dock of the AMG Southwest Headquarters.
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