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Track 11 and 12 recorded live.
Conjuring up a wicked sound of vaudeville horror mixed with a unique blend of riffs from various genres considered heavy metal, the people behind this record managed to create a truly theatrical atmosphere seldom achieved in metal without overdoing everything in the process. Which is not to say this album is not full of eccentricity to the point of actually being fun and heavy at the very same time, a balance that I oftentimes seek in music. Which elements constitute this specific sound? First and foremost, since this supposed to be a metal album, the guitar riffs have to qualify it as such, and they very much do. They are the kind of riffs that do not lose themselves in over complication, you can really hear that they are much rather crafted for heavyness and simple yet pounding rhythmic value. Production-wise, the guitar sound is fittingly thick, akin to the best examples of the grooving guitar sound of the early 90s, and has exactly the right amount of punch to accommodate the often palm-muted head banging fast-paced riffs, as well as the slow and punishing bits, reminiscent of the very earliest metal songs played in this despair-laden riffing style. In summary, the very focused and precisely executed riffs just lay the groundwork for this album to feel totally metal, solidified by the very classic sounding lead guitar work, which never noodles away for the sake of it, but instead provides an efficient, melodic and fitting counterpart to the rhythm guitar section. When the guitars do play lead melodies, they tend to be more on the melodic side, making the listener hear every note and how it fits into the songwriting instead of shredding away for chaotic effect. All in all, the times the rhythm guitars lay down the riffs on their own, dominate. All so far described elements may sound promising and solid, but do not explain the special atmosphere I attributed to the album at the beginning of the review. So where does it come from? The primary factor that contributes to its particular excellence is vocal diversity and style. All the participating vocal performers can be described as horny, perverted villains that deliver the vaudeville style mixture of bizarre darkness and black comedy with seemingly a thousand different, distinct voices. There are the main vocals, which are of a deep, snarling, sonorous, but rather clean variety and appear in the context of the music as the host of this freakshow. And then there’s an infinite variety of whisperings, distorted screams, horny female stripper vocals, straight-up sexual moaning, genuine death growls and powerful clean metal vocals that are mixed with such ease and yet theatrical intensity that they steal the whole show and paint this grotesque picture of a truly freaky metal circus. The lyrics are insanely metal and move between sado-masochistic sexual references and general dark imagery that does not shy away from tongue-in-cheek horror but never overdoes it, always moving along the lines of what one might be confronted with in bizarre performance art. This is an awesome album: Dark weirdo strip show metal that should go out to everyone who likes his music dark, weird, but with a basis of solid heavy metal.
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