...SIŁA I PIĘKNO MUZYKI TKWIĄ W JEJ RÓŻNORODNOŚCI.



..::OPIS::..

Ten nowy Necros Christos to narobił niezłego bałaganu, no bo kto to widział death metalową płytę trwającą niemal dwie godziny. I powiem od razu, że gdyby z taką propozycją wyszłoby Decapitated albo jakiś inny Kataklysm to bym nie zdzierżył.

U Necros Christos jest inaczej. Ci goście kurwa wiedzą jak oczarować słuchacza swoim rytualnym death metalem. Kilka dni temu słuchałem ich nawet podczas szlajania się po cmentarzach z Pierwszej Wojny Światowej nad ranem i powiem Wam – jest moc. I jebać długość, choć jest tylko jeden krążek, który trwa nawet dłużej i łykam go bez przepitki (ale ja od Guns N’ Roses wszystko łykam). Wiadomo, rzadko kiedy ma człowiek czas wygospodarować ciurkiem dwie godziny na słuchanie jakiejś płyty (ja przynajmniej nie mam odkąd skończyłem dziewiętnaście lat). Ale gdy już znajdę tyle czasu na „Domedon Doxomedon” to wówczas jest to dla mnie istna uczta. Wystarczy, że wjedzie taki „I Am Christ”, „The Heart of King Salomon in Sorcery” czy „Tombstone Chapel” i jestem gotowy. A takich smaków jest cała płyta. Ktoś powie, że jej spora część to same interludia i będzie miał rację, ale osobiście uważam, że pełnią one kapitalną rolę – nie nudzą ani cholery, za to nastrój naprawdę robią znakomity. Jedynym zarzutem względem tej płyty jest chyba tylko zbyt czysta jak na moje standardy produkcja – brzmi to wszystko znakomicie, ale bardziej bym się cieszył gdyby dołożono do tego z łopatę smoły. Brakuje tego, szczególnie biorąc pod uwagę wcześniejsze wydawnictwa Niemców. Ale poza tym faktem, Necros Christos naprawdę wydało świetny, odważny album.

Siedem lat nie poszło na marne, przynajmniej w moim odczuciu. „Domedon Doxomedon” to krążek, do którego będzie się Wam chciało wracać i będziecie robić to często. Testowałem to na sobie i ręczę za to.

Oracle



https://www.youtube.com/watch?v=Qz4n4iidCYU



Some say 42 minutes is the optimal album length. Others may say 50. Some an hour, some half an hour. But rarely does a person declare 112 minutes as being the optimal album length. Well, ladies and gentlemen, I’ve got a sweet 112-minute triple album for you here. Oh boy. Doc Grier is still wallowing in astral misery following his review of Midnight Odyssey’s two hour plus Shards of Silver Fade. He sits in the corner of the staff room muttering cosmological gibberish into an empty Carl Sagan mug. Grymm meanders in circles and wears a heavy cloak as he recites dark poetry influenced by his review of Cultes Des Ghoules 100-minute blackened-opera Coven, or Evil Ways Instead of Love. Steel is still lost somewhere between Songs From the North II and Songs From The North III: we hope for his swift return. Now it’s my turn — a rite of passage. This is Necros Christos’ final release; they’re calling it quits after Domedon’s release. So, why not churn out everything they’ve got stored on their hard drive while the iron’s still hot?

Domedon Doxomedon is the German’s “third” album, but really it’s their third, fourth, and fifth in one. The album’s split into three platters, unified by the nine “gates” and “temples” that a listener travels through, a “gateway to truly diving spheres” as the band modestly put it. These gates and temples are short interludes, mostly instrumental, that range from one-minute to three-minutes long. A long, blackened death voyage awaits once the mysteries of the temple are uncovered. Essentially, the album comes in threes with an epic 10+ minute track being bookended by a “temple” and “gate.” Take away the interludes and you’ve still got 83 minutes of similar sounding blackened-death metal. Phew. For the sake of this review, I’m largely going to neglect to discuss the interludes (but not all) — these are often formless and lacking in diversity, sounding too similar and becoming too repetitive to really enhance the flavorsome “metal” moments of this album.

Now, to the music. Take sprinklings of Morbid Angel, Carcass, Necrophagia and Candlemass and filter it through a cryptic biblical world and you’ve got Necros Christos. When they’re grooving, layering, and stringing riffs with a playful mix of ’90’s death metal, doom, and progressive metal you’re in for an absolute treat. Take the 12-minute “Seven Altars Burn in Sin” that opens with sullen and crushing doom tones before moving into lick-heavy mid-paced grooves that fan the flames of the burning altar. A reflective mid-song lull parts the burning sea, releasing a grand melodic solo of Kirk Hammett-esque finger-flicking proportions. When songs unravel and mutate — one positive of some of these longer tracks — Necros Christos are at their best.

Their more intense, technical ventures into progressive realms serve them much better. Unfortunately, one must wade through the fire and brimstone of a thousand labyrinthine temples and gates to secure the glimmering gold prize. “The Heart of King Solomon in Sorcery” opens with an urgency much needed, and regrettably much lacking, in this album(s). Technical licks and the melodic spurts writhe between Mors Dalos Ra’s deep guttural shouts and growls that carry through the tracks like an omniscient demon. Heavy Morbid Angel-isms are present here, but they’re swept to one side by an inferno of progressive solos that caper through the song with a bluesy edge akin to Heartwork-era Carcass. As with most of the album, the song is three or four minutes too long, trailing out flatly.

One thing that stands out is the excellent sounding production. Tracks have such great clarity whilst retaining a crunching, powerful edge. The superb chainsaw shimmer of “Exiled in Transformation” is accompanied by a plodding, heavy-footed dueling groove that is intensified by the clarity and depth of the production. The pinch-harmonics, rumbling blasts, and eerie choral breakthroughs combine excellently to end the song, and – at seven minutes – it ends swiftly and without lingering like a mystical fart. 13-minute closer “In Meditation On The Death Of Christ” is an Immolation-esque track that rumbles menacingly, shooting between sharp, jutting moments of death metal and the crunching repetitiveness of doom. Unfortunately, as is common, the song meanders for too long, losing its potency.

The album is so much more focused without the interludes. Yes, removing these completely discards the admirable narrative the band has created, but the album works without them. However, despite more than a few brilliant and creative moments, Domedon is too repetitive and too long to succeed as a unified album. There’s little in the way of differentiation between Temple One and Temple Nine musically. Conceptually and lyrically this may be true, but these elements will always come second to the quality of the music on offer. Because of this, I feel that I can’t give a high score, but don’t let the score put you off. This is one of those albums that doesn’t sit well in any category.

AKERBLOGGER



..::TRACK-LIST::..

CD 1 - ITH א
1. Temple I: The Enlightened Will Shine Like The Zohar Of The Sky [Daniel 12:3] 3:01
2. I Am Christ 10:42
3. [And They Call This] Gate: Gate Of Sooun 2:45
4. Temple II: Who Will Get Me A Drink Of Water From The Cistern Of Bethlehem? [2 Samuel 23:15] 1:23
5. Tombstone Chapel 6:01
6. [And They Call This] Gate: Gate Of Damihyron 1:12
7. Temple III: Unless YHVH Had Been My Help, My Soul Would Soon Have Dwelt With Dumah [Psalms 94:17] 0:40
8. He Doth Mourn In Hell 7:11
9. [And They Call This] Gate: Gate Of Aion Tsevaoth 2:00


CD 2 - SETH ב
1. Temple IV: Oracle Of The Man Whose Eye Is Open [Numbers 24:3] 1:37
2. Seven Altars Burn In Sin 12:23
3. [And They Call This] Gate: Gate Of Arba-Hemon 1:00
4. Temple V: בראשית [Genesis 1:1] 1:57
5. Exiled In Transformation 7:04
6. [And They Call This] Gate: Gate Of Behet-Myron 2:00
7. Temple VI: The Weight Of Gold That Came To Solomon In One Year Was 666 Talents Of Gold [1 Kings 10:14] 1:01
8. The Heart Of King Solomon In Sorcery 9:55
9. [And They Call This] Gate: Gate Of Sulam 1:09


CD 3 - TEI טטט
1. Temple VII: They And All That Belonged To Them Went Down Alive Into Sheol [Numbers 16:33] 1:27
2. The Guilt They Bore 7:34
3. [And They Call This] Gate: Gate Of Jehudmijron 1:02
4. Temple VIII: Mount Sinai Was All In Smoke, For YHVH Had Descended Upon It In Fire [Exodus 19:18] 1:15
5. Exodos 10:05
6. [And They Call This] Gate: Gate Of Dimitrijon 1:36
7. Temple IX: A Redeemer Will Come To Zion [Isaiah 59:20] 1:06
8. In Meditation On The Death Of Christ 13:59
9. [And They Call This] Gate: Gate Of Ea-Ōn 2:01



..::OBSADA::..

The Evil Reverend N. - Guitars
Iván Hernández - Drums
Peter Habura - Bass
Mors Dalos Ra - Vocals, Guitars (electric, acoustic), Keyboards




https://www.youtube.com/watch?v=fYECa-FnXcE



SEED 14:30-23:00.
POLECAM!!!