ZARPA - La Zarpa y el sable (2009)

Facing the Valencian Community Legend

This compilation is taken from the twelfth issue (2009) of Polish magazine Hard Rocker. And after first listening to this, simply I loved Zarpa. I couldn’t believe the band was so good, yet so unknown musically for me. That’s true I read one review (“Infierno” album) in Polish magazine (“Heavy Metal Pages”) with quite good overall mark on the end, but nothing more. No reviews, no informations, no news. Fortunately one lucky day came into my metal world and I can praise the Spaniards now. In short and laconic info about the band, Iron Maiden was given as the main influence for Zarpa, moreover they were described as Spanish Iron Maiden. Maybe it was written to draw more interest, or maybe somebody found some similarities because Zarpa is as old as the band from London, but for me such statement is a pure bullshit and anything but ignorantia elenchi.

Yep, let’s leave this empty talk, because Zarpa music defends staunchly its stronghold. On the start I have to point out that this compilation is rather strange for me, I mean the choice of the songs is inconsistent. I was assured about cross-sectional of the band’s creativity, but only one track called “Herederos de un imperio” comes from the eighties. But this song is… the best one here! It contains the essence of these olden times, maybe my comparison goes through Atlantic to some US bands (esp. Omen’s debut), but it doesn’t change that this song is a pure heavy metal killer! Moreover, it is one of the best heavy tunes I have ever heard in this genre. The formula is simple: mindcrushing riffs, excellent guitar leads (just listen to solo lasting approx fifty seconds…) and vivid rhythm section with characteristic and real singing, in addition: no fuckin’ digitals, triggers and so on. Almost five minutes of crystalline heavy metal magic pump new blood into my veins…

The rest of the songs are taken from this century, and I can hear another band. Different production, different vocals (but the same incredible Vicente Fejióo), different feelings. But I won’t say that newer Zarpa is far worse, no, the band shows another dimension of heavy metal, yet it is still absolutely brilliant performance. Just take a listen to the second “Babilonia la ramera” or the next “Fantasmas de pasado”, both taken from “Infierno” album. I admire excellent riffs structure as well as guitar leads, Vicente sings in the middle way, everything is audible, even demolishing bass guitar lines. There is also one important thing, namely the melody of the songs. The Spaniards don’t propose easy melodic tunes, the listener has to listen to it many times to discover all the riches. My only doubt is connected with the first “El poder de la fe”: it is opened by calm acoustic fragments with flute when clear-cut melody flies freely in the air, I like this very much, as well as powerful guitar passages. Unfortunately about third minute there are some chants in the melody line from the beginning that effectively uglify the entirety. Yep, the beginning isn’t the best here, but the last track called “Crystal Vipers Warriors” simply destroys my speakers. This one is the fastest here and I can’t stand on my chair! Definitely classic heavy stuff.

Of course, this is compilation cd only, and I do not listen to such recordings very often, yet as I wrote earlier, this was my first meeting with these Spaniards, but till then I didn’t buy any Zarpa stuff. Why? Who the hell knows? For sure it is perfect record for the start to know this band. It’s a pity that only one song is taken from their first records, but nowadays recordings aren’t bad. This band is worthy to give them a chance, they have been existed in metal world since 1977 (!) and in my opinion they are completely unknown. Recommended for all heavy metal worshippers.      

90/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on October, 2012, now modified a bit)

CANDLEMASS - Nightfall (1987)

The Bewitching Doom

1992 was the year of my first meeting with Swedish Candlemass. This album was called “Chapter VI”. And after listening to it, I thought “quite good heavy metal band”. But at the time “When the Runes Still Speak” song seemed to be the most interesting on the album. What is more, it rather didn’t fit to the entirety due to its very slow and monumental structure. Anyway I decided to check this band out, and bought the rest of discography, or better the rest of un-original tapes copied in my country, because there was no chance to get the original ones. Definitely the best one was the tape entitled “Nightfall” with incorrect track-list (standard thing here in Poland in the old times).

“Nightfall”, the second performance of these Swedes, was another test for the young band. Even if they released “Epicus Doomicus Metallicus” one year earlier, I treat “Nightfall” as the second debut. Why? Because after the releasing of debut, the band lost three members: vocalist, guitarist and drummer were gone. Fortunately these significant changes weren’t heavy loss for the crew, on the contrary the new guys pumped some new blood to the organism. Especially the vocalist Jan Bror Alfredo Marcolin, or better known as Messiah Marcolin, became an identification mark for Candlemass. His unique vocals (resemblance to opera singers) were complete contrast to the previous Johan Längquist, moreover Marcolin’s kind of singing perfectly fitted to the music, in addition his scenic image gained reputation among the fans, just like another surname “Mr. Doomdance”. Of course, gifted and original vocalist does not mean successful album. Yes, this is an elemental truth, but when it comes to the musical entirety of the second Candlemass recording, another elemental truth is coming: the music is simply… superb. “Nightfall” beat the debut, but the quality jump wasn’t gigantic, because the first epic doom revelation in Candlemass career was a pure metal greatness too, and the successor is a continuation of the chosen way.

The amount of the songs may lead into error. Only six of them are with vocals lines, so can I write about laziness or musical tardiness in composing? No, of course not. The debut album also had six songs, so I think there is no surprise here. These four instrumental tracks are small additions, the first of them, called “Gothic Stone” is an introduction to “The Well of Souls”. The same is with the next ones: “Codex Gigas” based on heavy guitars, “Marche Funebre” (taken from F. Chopin) and the finishing track “Black Candles” written by Mike Wead, full of sorrow and revery, being right choice to end the recording. Of course that four isn’t the salt of the doom earth. And when I start to think about the best song on the album, “At the Gallows End” comes to my mind immediately. What is more, I treat it the best doom song ever written. It has calm beginning with warm solo lead and some acoustic tunes, after thirty seconds powerful guitar riffs and drums enter the stage, just like phenomenal vocals. With words “…sunrise I greet you, the beauty of your light…” the band creates excellent, unforgettable catchy melodic lines, then after one minute the song becomes typical Candlemass work with all epic doom riches. Guitar riffs are maintained rather in faster tempo as compared to hypnotic and slow “The Well of Souls”, these beautiful vocals and melodies are shown once again, in addition the song is decorated by memorable guitar lead by Lars. To be honest with myself, without any difficulty, I can define “At the Gallows End” as summary of the album. Obviously, these impressive moments are also served in other songs, but such beautiful melodies are played rather rarely. Nevertheless each of them is a classic track of epic doom metal. I nearly forget about debut thrilling rawness during listening to “Nightfall”, yet musical and harmony arrangements are better and more interesting on the second album. Joining Lars Johansson as a new guitarist was also very good idea. Mixing incredible heaviness and specific melody lines (more hidden than in my best track, but also marvelous), these agents of doom metal recorded an absolute thing: by no manner of means the mighty cruel time cannot spoil this doom monolith. 

This album is a good example where four elements like music, lyrics, production and front-cover are inseparable unity. The artwork that ornaments “Nightfall” is a picture of American painter Thomas Cole, entitled “Old Age” and completely fits to the entirety. The death motive is present here, when an angel guides an old man sitting in the boat and waiting for eternal redemption and simply better reality. This journey runs through the dark and ominous clouds, but on the end there is a light (or the entrance to paradise) giving hope to the tired human being. Lyrics written by Edling don’t vary from this subject matter shown by Cole, the title word of the album is a consequence of life, because the death or the nightfall of man is something inexorable. The Swedes also told about the moment of death and profound sadness during whole life, like in “Mourners Lament”, where a father bewails the child’s death. For me this story is the most dismaying on the album, effigy of death is very sensible and while listening to this monumental song, I couldn’t feel indifference. Simply I can understand the message coming straight from the song, because I am also father of two children. The lyrics are supported by music full of total sadness, it perfectly fits to the story: colossal, crushing riffs bathing in slow tempo with paralyzing Lars solo lead. And this atmosphere where readily noticeable vision of merciless death befogs the human senses…

The realization of sound helps the music to conquer my metal heart. My cd is a re-edition, everything here is audible (but the same was with my unoriginal tape), so what do I want more, if the music itself is served on the highest metal level. That’s obvious that Candlemass reached an epic doom peak, as well as they defined (also with the debut album) the idea of the style. “Nightfall” is a denial to the boredom, by creating slow and monumental anthems, these five Swedes recorded masterful slab of doom or metal in general. They smuggled life truths, yet life searchings of something better not only on earthy valley. Sadness, grief, despair, downheartedness, fatality, loss of life… but there is (always?) a small light of hope sparkling in the deep dark, just like in “Samarithan” song, where the man becomes an angel after his death. Musically I get once again slow superb piece of paralyzing doom with beautiful chorus.  

And on the end, I’d like to set forth some words from the chorus of “Bewitched”, namely: “You are bewitched…”. Yes, I am bewitched… by this timeless classic metal music… 

100/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on October, 2012, now modified a bit) 

INTESTINE BAALISM - An Anatomy of the Beast (1997)

A Lesson in Beast Anatomy

My adventure with Japanese metal started really spectacularly. Somewhere in 1997 my letter box was haunted by the first album of Intestine Baalism, the beast coming straight from Tokyo. I remember that I saw and read several enthusiastic reviews in the underground press and now I can assure you about true words of editors. Through all these years “An Anatomy of the Beast” is still excellent album when we talk in death metal categories. And to be honest with my metal myself, I neglected this record a bit in the past. I mean, now I praise it much more than in the days of forgetfulness. The next important thing, I have to buy their next two albums, but I think it won’t be an easy task.

Ok, let’s move back into the year of 1997 when the first album of these Japanese metallers came in. For sure it was (and still is!) something fresh, they skillfully mixed the best elements from two schools of death metal (American and European) and added their own unique touch. Forget about dull grinding US-death outfits, forget about sweet Gothenburg melodies, these tunes are combination of pure death genre with such names as Cannibal Corpse, Immolation and the best representants of Swedish bestiality (Dismember, Desultory, Hypocrisy). The production is impeccable, great, raw and vivid sound effectively slaughters my ears, in addition I like very much the way of lead guitar realization, this is rather rare in metal world yet interesting beyond doubt, man! Some proofs? Just take a listen to the first song called “Corporal Celebration” which is in fact a correct synopsis of entirety: many tempo changes from blasts to heavy slowdowns, devastating guitar works and two kinds of vo-kills. Here I must stop at the person of Seiji Kakuzaki, the mastermind of the band, his growls are in the vein of old Finnish crews like Demigod and Demilich, and I think he did really good job. Besides screams are also present, but they are served rather seldom. The next factor worth mentioning is… melody, especially in guitar leads and some riffs. Yes, melody, but let me be damned if I would call this slab melodic death metal. In first track, after four minutes, there is a solo lead, but it brings a reverie, strange feeling indeed, it appeared totally unexpectedly in the song. Then the music runs into quite depressive guitar work. The album shows its content in excellent way, it is really good start to listen to entirety.

The next song I’d like to write about is “Cannibal Sodom”, the fourth one, which I think is the best and most recognizable here. At the beginning, the storm of mindblowing catchy riffs attack the listener, and after 53 seconds the guitar lead brings us astonishing tunes and turns into death metal inferno. Such great shows are served here three times, and my memories fly towards the land of Sweden, where bands like Desultory and Dismember ruled. Absolutely killing and memorable track. And when I write about Sweden, there is a need to mention about the last song “Tyrant”, for me Swedish death metal made in Japan. But do not expect any imitation or poor copy. Just listen to these killing riffs after 44 seconds, and tell me, how I can’t praise this band hearing such excellent riffs? Paralyzing slowdowns by rotation with fast, furious energy. Simply the essence of the genre…

So, without any hesitation, this album is absolutely must-have in every death metal collection. In short description just above, I introduced only three tracks, but believe me, the remainder isn’t worse. Only two of them have no solo lead: the title song and “Burn Thou in Effigy”,  an one minute acoustic miniature. My first feelings during listening to the album weren’t surprise. And now I still feel the same: “An Anatomy of the Beast” is a truly devastating piece of death metal with all the elements needed in this genre. Energy, brutality, twisting melody, freshness. No boredom found. So even today, after 15 years of existence in my metal collection, I highly enjoy what they composed. Superb! 

93/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on September, 2012, now modified a bit)

TESTAMENT - The Gathering (1999)

Resuscitating the Fossilized

I take a look at the members of this gathering:  Billy, Peterson, Murphy, DiGiorgio and Lombardo. Yep, definitely good line-up, don’t you think? Or maybe it is better to write thrash dream-team? The five veterans ready to create something uncommon. The musicians known from such bands as Slayer, Sadus, Obituary, Death and Disincarnate. And of course Testament. The first impression is obvious, but at once the main question appears: what is the final result of this gathering? And the next one, did they overcome the mighty debut album “The Legacy”? Two fundamental questions I am going to answer in this review…

Reading some interviews after releasing the album, Peterson said about one thing, namely Dave Lombardo had been this person which I describe as a flashing point. He had a great contribution in making “The Gathering” living proof of thrash existence. Now it is hard to write if their previous album was a commercial triumph, for sure “Demonic” was quite successful mix of death and thrash from my point of view, however after joining DiGiorgio and Murphy (again on the board), I was expecting really killing metal offering, much better than the previous full-lengths without Alex Skolnick. The album, released by Burnt Offerings, saw the light of day in the middle of 1999. And my first feelings were enthusiastic, except for better front cover as compared to “Demonic” and very modern (but what is important: not sterile!) production, the music was amazing, from the very beginning the first three songs are just destroyers of the silence, like a battering ram that crushes the wall. After several seconds of bodeful intro, the massacre begins. Forget about slow and monumental tunes of “Demonic”. “D. N. R.” is very fast, with straight forward riffs and fine double bass attack, for sure this is thrash, but taken from another unknown dimension. It makes the song is… really fresh even nowadays, and what is more, this ‘freshness’ is met very often through the whole album. Vocals – again there is no surprise, with every record Billy proves he is the number one in thrash vocal family! He shows incredible mix of clean vocals and deep yet very understandable growls. Even the whole structure of this track is maintained in rather simple way, everything effectively smothers the listener senses. “The Gathering” is entering its gate…

… and the next “Down for Life” isn’t worse! Faster a bit, again very interesting guitar riffs (man, Peterson/Murphy duo!), and changes of the tempo. But the best is yet to come, its name “Eyes of Wrath”: simply it is the essence of Testament’s style, from perfect vocals to perfect music. During this song, finally the bass lines are shown but only in moments of guitar calming down. And I think this is serious fault, why the hell the bass lines are hidden so deeply under the guitar traces? In spite of this, I can write about this killing thrashing song as one of the best in the era of no Skolnick. Writing more about this, one thing must be blazoned out, I mean the first solo lead appears after 4:30, it is different, less classic, more climatic show and these tunes end this highly interesting song.

Yes, three thrash cannon-shots were already heard, but the rest isn’t such super as this holy trinity. For sure I can point out “Legions of the Dead”, it is the fastest one, maybe there is the best solo, but I have an impression that this is only similar track to “Murky Waters” from “Demonic”. And for sure “Riding the Snake” with mysterious opening, broken structures and excellent second part, as well as glorious “Sewn Shut Eyes” with absolutely devastating Billy vo-kills, overall guitar work and drums cannonade. I wrote about good points, so there is a place to indicate the weak points. I think the feeling of disappointment gets out of the mediocrity. It’s hard to believe it, once again I think about the line-up, and… “True Believer” or “3 Days of Darkness” (with awful chants “ooooo….”) don’t maintain these superb feelings from the beginning. The same is in the last “Fall of Sipledome”. Simply these three tracks didn’t convince me. For the first listenings everything seems to have its place, each element isn’t accidental. Unfortunately the deep insight into the entirety (especially into three aforementioned tracks) shows that seesawing emotions aren’t anything uncommon…

Ok, I hope you remember the question I asked some words ago. In my case it is obvious that I compare any new offering from the band to the mighty debut album. And for certain I can declare that “The Gathering” didn’t beat the debut, as well as “The New Order” and “The Ritual”, my most beloved Testament masterpieces. I think my overall mark is rather high in spite of some weaker tracks, but when I read the line-up I can even say about disappointment or frustration. I expected really great album with the highest mark on the end, but as the speedway proverb goes “names don’t ride”. From the other hand I would be a liar in root and grain writing that “The Gathering” is a weak album. No, it is not, the music is still fresh and kicking ass even today, I still listen to this very often, but I’d like to sum some things up: the potential and talent of James Murphy is wrecked here, just like unfortunate hiding of DiGiorgio bass lines during the process of sound realization. Seemingly there is a bootleg coming from Dynamo live show (2002), where bass is simply audible and it sounds perfectly. Unfortunately I haven’t heard it yet. Compositionally the band shows the inequalities: the great and the weak songs, with absolutely excellent beginning of the album. I think it proves this line-up is only ship with Bill, Peterson (both as firm as a rock) and three mercenaries, though I am convinced that Lombardo showed the best drum work in his career (yes, forget about Slayer!). Also it proves that the only line-up of Testament is following: Billy, Peterson, Skolnick, Christian and Clemente (or Dette on drums, I will never forget his show on “Live at the Fillmore”…). Anyway “The Gathering” is the last studio album of the band that I praise to date. Both “First Strike Still Deadly” and released after nine (!) years “The Formation of Damnation” are disappointments for me, and I hope their newest “Dark Roots of Earth” will show the thrashing furious power and energy. The line-up is almost complete, only Clemente is replaced by Hoglan…

90/100

-Tlacaxipehualiztli

(previously written for Encyclopaedia Metallum, on August, 2012, now modified a bit)