...I Praise Thee, O Grand Moyocoyani...
The first
news concerning another Xipe Totec album really terrified me. The Mexicans
changed a label and signed a deal with Italian DeFox. Of course, there’s
nothing wrong in label changing, but this new company decided to release “In
Moyocoyani” in digital form only. Then I thought: “fucking brutal truth about
our modern times…”, however band’s members gave me a ray of hope: soon or later
this album will be shown to the metal world on physical format. Fortunately verbum
caro factum est and thanks to Mexican Helvete Records, “In Moyocoyani” visited
my letter box eventually. Surprisingly and contrary to the previous “Eztlacuani”,
a new album contains of full booklet with lyrics written in Nahuatl once again.
The line-up is with no any changes, but the main question was shaking my brain
cells unceasingly: did Xipe Totec manage to reach this masterly level of his
predecessor? With some timidness I put the disc on my cd player. Still having
absolutely great feelings about the debut album (and of course their first
killing “Prehispanic Beg”), the first seconds of “Ehuacoatl” started to cannonade
my senses.
This time
Mexican duo prepared ten songs with two instrumental and quasi-intro tracks.
Also the opening song is preceded by one minute well-known ominous tunes, then
something different comes to me: realization of the sound. I mean, the same
studio (M.A.T. Estudio), and the same sound engineer (Miguel Angel Tavera). As
compared to the “Eztlacuani” album, I get a clearer recording, louder a bit,
especially when it comes to the drums. And during all these minutes and hours,
during all these careful and insightful examinations of “In Moyocoyani”, I can
state most certainly that the drums are something wrong in this puzzle. Simply,
the sound of drums failed. It seems that the album recording went two different
ways. First off, the drums: the loudest, the most important. Then, on the
second track, the mistreated remainder. I don’t want to exert myself on any
professional descriptions concerning the sound engineering, because I even
can’t do this. I’m writing such words as a usual music fan and supporter,
knowing Xipe Totec act since the very beginning, since their first killing
“Prehispanic Beg”. I repeat, the drums are simply bad: they sound artificially,
very flat and one-dimensionally, the whole seems to be (digitally) compressed which
makes “In Moyocoyani” a standard release of our modern sad times. What is more,
it is worthy to pay attention on Martín guitar leads in tracks “Ehuacoatl”,
“Atlcahualco” or “Xochitonal”, and listen to the bass drum sounding which is
nothing but a dominating element that completely ruins the overall favourable
impressions. Is it some kind of bass drum leads? Some dark thoughts gather in
my mind while thinking about this… Even that all the drums were recorded (and
profaned at the same time) by computer… Well, it isn’t the best opening of the
review for the band, though I have to make a full confession that now I am
accustomed to these wretched drums. And it’s hard to say who is responsible for
that. According to the booklet, the band produced all the stuff itself, on the
other hand, Miguel Angel is a sound engineer…
All right,
let’s leave the production nuance and focus on something musical. But again,
I’m not going to praise the creators of the album. It’s quite interesting, but
I didn’t know about a surprise that was putted on the end of “In Moyocoyani”.
Well, when the last “Huehueteotl” song (in compliance with track order) ends
after about 4:40, almost one minute of silence appears, and while 5:30 is
shown, tunes start to fill my senses anew. And what I get? Sepultura’s cover
called “Roots Bloody Roots”. And exactly at that time I forget about drums
calamity. But not because I’m a witness of great metal sounds that feed my
senses. Quite the contrary, this is calamity number two. But from the beginning.
Xipe Totec is a band deeply rooted not only in the underground, but also in the
history of their land, Mexican land, as they make great play with Aztec beliefs
and their customs. And every single tune and each single word is just an
evidence for that. By recording “Roots Bloody Roots” they broke the rules. I’m
not even convinced that this song is somehow dedicated to such topics, I mean, maybe
in tribal general meaning. In addition, it is sung in English. Of course, I
agree, the band made this track using their own vision, adding some folk
instruments into structures, but all is for nothing. Why? Because I don’t like
“Roots Bloody Roots”, just like all the Sepultura stuff recorded after “Arise”
era. Naturally I wouldn’t change my mind if the Mexicans record something from
“Schizophrenia” or “Beneath the Remains”. Guys, this song with almost no riffs
included, where only irritating and pissing off groove dominates, doesn’t fit
to your music and band’s concept. Am I clear? Probably it was considered as a
curiosity during recording, now I consider it much worse than the drums
production I’ve mentioned just above. And moreover, this poor effort adorns the
end of the album. Although it’s a hidden track, I put it to the whole, as I
always review any album from the first second to the last one. Damn it!
So, I
described two elements that have enormous influence on the final mark, but what
about the music itself? What about the quality? May I compare it to the
previous mighty “Eztlacuani” album? Ha, there will be superlatives only! Well,
I find my tongue: finally! While reviewing their first album, I was writing
about the future performance as some kind of a real test. “Eztlacuani” had a
blank card, I even didn’t wait for this album, because no informations about
Xipe Totec were known to me. Only the “Prehispanic Beg” tape and that’s all. With
the debut album, the Mexicans maintained and improved the killing death metal
level from the demo. In consequence it brought crude, wild and dismaying piece
of music; Martín, the author of all music, did a
really great and unparalleled job: after pushing the play button, I close my
eyes, and become a witness of the events I read in many books. This is a real
force of “Eztlacuani”. In turn, the “In Moyocoyani” album was ripening in my
head for a long time. I really needed many careful listens to get a proper
insight into the whole and now I can write that this album hits me otherguess.
As compared to the predecessor which is like a torture in a dark, fuggy room,
“In Moyocoyani” seems to be a one shot killing experience, something
unexpected, just like a sudden cross-cut of the spinal cord with a death as a
result. Or, if “Eztlacuani” is an obtuse, rusted knife, then “In Moyocoyani” is
a glabrous and shining dagger of a priest. Both equally lethal…
I was sure
as shooting about Martín’s composition creativity. And I am
not disappointed: now I know what this
band is all about: a musical side of “In Moyocoyani” is absolutely perfect. Alex didn’t change, and it’s good, because
such form of vocals devastation totally work in with the musical form, but Martín showed, in some way, a bit different arrangements. As it was given
earlier, only two introductions made of folk instruments (a fast glance into
the booklet: tambores, palos de lluvia, cascabeles and flautas) are pushed in
between the proper tracks, they are called “Nozahuah Ixpan Coatlicue” (number
four) and “Tleica Tiyolih In Ahquin Onmic Onteotl” (number eight), whereat the
latter has baleful and demoniacal Alex performance. But I have to signalize that
such using these absolutely interesting instruments and short introductions can
be heard in every song I guess, what is more, the overall reception isn’t
disturbed at all. The songs are built on solid powerful riffs enriched with
some twisted well known (from “Eztlacuani”) memorable tunes, which make each
song has its own life, simultaneously being inseparable part of the entirety. It’s
very important, you know it, no fillers, just killers. And it’s very hard to
choose the best one amongst the “In Moyocoyani” brilliance as my opinion
changes ceaselessly. The songs emanate really splendid guitar leads and this is
sure that Martín, as a guitarist, still progresses. He
doesn’t create complicated rhythms or show broken guitar wankery, nobody can
call this band technical death metal, because it is not. This guy finds simple
means and with such ‘ordinary’ thing conquers my senses in 100%. I can feel it,
his passion, soul and creation joy. His leads are the salt of the earth and I
have no words in English to write it in a good way. I could use many positive
adjectives, but I’m afraid it would turn out into a boring counting-out rhyme.
That’s true that the title song was the first one here which blown me off. It
reminds me a bit of the opening killer “Aca Ihuitl”, where after great and
astonishing guitar lead (lasting almost fifty seconds that bring a while of an
anxious reverie), the change of riffs appear causing death metal carnage;
really powerful and full of indomitable destructive force song, with rhythm
changes and demolishing ending. To put it short: multilayer in every aspect.
But being
on the track of an unbridled fury of the album, I could indicate each song,
knowing that described piece isn’t worse than the title killer. Of course, it
is not my intention, however some ‘things’ concerning all the “In Moyocoyani”
flavors definitely should be published. Let me dive into the
“Tlatecpilotoliztli Teezo Ihuan Teyomiyo” abyss, where Xipe Totec delivers
pretty broken arrangements and fast, galloping, in total madness, solo lead
with unmerciful drums. Or in “In Yoliatl Nochihtoc Ica Tecpatl”, when after
almost three minutes blast crippling avalanche, the great slow down enters the
stage: let me be damned if I don’t listen to mighty Swedish 80/90 years reminiscence
here. Served in simple way, this fragment is one of the brightest on the album.
Yep, as I called ‘Sweden’ to my review, there is a need to mention about more
such influences “In Moyocoyani” is enclosed with. But in this place I’m
vociferating: it is not a blame, it is not a poor imitation! Just listen to
“Atlcahualco” and again the mighty slow down appearing during last forty
seconds of this track. Or song called “Xochitonal” where some guitar parts put
in mind of Dissection and their second famous “Storm of the Light’s Bane”. But
“Xochitonal” is rather next to “Where Dead Angels Lie”, however these
blackish-like riffs served in definitely more furious speed as compared to Nödtveidt’s
offer make the Mexican version much, much better.
Hm… my
journey with Moyocoyani deity seems to draw to end. It’s a good time to write
something to sum all the things up. The first part of the review isn’t a profit
for the band and has the decisive contribution while speaking about the final
mark, stealing ten points unfortunately. I don’t play any wordy games, you
know, what would happen if… The most important is the musical side of course
and being totally conscious I can swear that the “Eztlacuani” level is
maintained here. With simple means
commanding officer Martínez and his loyal lieutenant Camacho,
raid and bombard effectively all the units of death metal supporters. They
deliver everything I worship in this genre, and despite of hearing quadrillion
of death metal slabs in my whole life, it’s absolutely great that such album
like “In Moyocoyani” nourishes my nervous system, each cell and tissue. Thinking
about Xipe Totec and any similarities in the recent death scene, probably one
name, Nile, comes to my mind. Maybe Mexicans don’t have such dense and fast
rhythm section and guitar layers, but they are definitely more reliable and
authentic. The music of Xipe Totec is the evidence that death metal genre is
the only one to praise the Mexican history before the conquest, without being
comical and funny, without fucking stupid NS ideas in it that fill many Mexican
black metal bands with their lame and dilettante pseudo-music. Just take a look
on these deathly acts I’m writing in alphabetical order: Mictlan (with “Donde
habitan los muertos”), The Chasm, Xipe Totec to name just a few. Death metal
only! But what is the most important, to praise such a great and astounding
culture and mythology you have to be very good musicians, just like the Martínez / Camacho duo is beyond all question.
The future
looks promising. The band announced another album this year. What is more, Martín is launched out into many other projects (especially Yatrogeny and
Eclectic Spawn), but I hope his head is still full of great ideas and
conceptions. “In Moyocoyani” is the best example of this thesis. But production
and music (absolutely without any useless intercalations) must be unity and one
harmony. For sure Moyocoyani, He Who Creates Himself, raises a finger. Thus, beware!
But I hope that it’s very easy to eliminate these little flaws. You know perfectly
what to do…
90/100
-Tlacaxipehualiztli
(written on February, 2014)
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