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


..::OPIS::..

WHAT A COMEBACK HOLY SHIT!
Ja osobiście uważam ten powrót za triumfalny, na wielu poziomach.

FA


Może i jestem odosobniony w swojej opinii, ale jakoś nigdy nie ciąłem się za Coroner. To trochę taki casus Voivod – znam, doceniam, czasem lubię, ale nigdy nie był zespołem pierwszego wyboru, jeśli chodziło o thrash metal. No, dwa pierwsze albumy oraz demo „Death Cult” lubię i to do nich wracam najczęściej. Nie byłem również tym, który wyczekiwał od ponad trzydziestu lat nowego albumu. „No More Color”, „Mental Vortex” są spoko i czasem się zakręcą, jednakże od dużego dzwonu. „Grin” odświeżyłem po wielu latach dopiero gdy wjechał niniejszy krążek. Tak to mniej więcej wygląda u mnie sprawa z Coroner.

I jak ja na tej podbudowie mam ocenić najnowszy „Dissonance Theory”? Przede wszystkim – nie byłem osobą, która w ogóle go wyczekiwała. Trzydzieści dwa lata to sporo i z drugiej strony podziwiam Barona i Royca, że nie spękali, że spięli pośladki i jednak wypuścili ten album. Tylko czy był sens? Czy to jest płyta godna ich historii? Nie wiem, ja odbieram ją jak typowy thrash metalowy powrót po wielu wielu latach – nie ma wyjątkowej tragedii, ale mój entuzjazm jest mocno umiarkowany po jej odsłuchu.

„Dissonance Theory” bliżej jest do trzech ostatnich albumów. Tak, jest to techniczny thrash metal, który – jak na moje ucho – to ma pewne momenty, jednakże ma też sporo fragmentów nużących. Choćby te w „Cirisium Bound” czy „The Law”, takie rozlazłe, trochę efemeryczne, z dużą dozą nie tylko technicznego połamania, ale też progresywnego zacięcia. Choć nie mogę im też odmówić fajnych, szybszych numerów – przy których i tak mam jedno ale: ciut zbyt melodyjnie jak na mój gust. Natomiast część z nich bardzo dobrze nawiązuje do spuścizny Coroner już z lat dziewięćdziesiątych. Ubolewam tylko, że jest tych momentów mniej w porównaniu do fragmentów mniej thrash metalowych i wolniejszych. Podchodzą mi one niekiedy pod generyczność zespołu Petrozy z ostatnich dwóch dekad – taka tam udawana wściekłość, z jednej sztancy, pomnożona przez ilość utworów. Przyznam, że pierwsze dwa – trzy odsłuchy „Dissonance Theory” rozbudziły we mnie poczucie, że polubię się z tą płytą na dłużej. Jednak po kolejnych kilkunastu sesjach mam wrażenie, że słyszę na niej mniej jasnych punktów niż na początku. A to jednak dobrze nie wróży.

W kwestii brzmienia – „Dissonance Theory” brzmi jak album thrash metalowy nagrany pod koniec pierwszego ćwierćwiecza XXI wieku – wszystko oczywiście na jak najwyższym poziomie. Daleko mu od dzikości pierwszych krążków Szwajcarów. Chwilami też mam wrażenie, że zespół chciał uzyskać sound będący połączeniem albumów Triptykon i obecnego wcielenia Kreator. Szczególnie ta pierwsza nazwa kołacze mi się pod kopułą podczas odsłuchów najnowszego dzieła Coroner. Normalnie byłaby to chyba zaleta, w kontekście „Dissonance Theory” nie do końca jednak mnie przekonuje.

Tym samym jest to po prostu kolejny powrót, którego jak dla mnie mogłoby nie być. Natomiast wszyscy wiemy co teraz się wydarzy – trasy po największych festiwalach, w Polsce headlinerstwo na Mysticu, a potem jeśli będziemy mieli pecha to jeszcze kilka płyt będących wariacjami poprzedniczki. Mimo sympatii dla Coroner – nic by się nie stało, jeśli ostatnim krążkiem w ich dyskografii nadal był „Grin”.

Oracle


Swiss thrashers Coroner unleashed their sixth album 32 years after their previous one, "Grin" (1993). Perhaps that's a record? The good news is that "Dissonance Theory" is certainly not a time machine that takes us back a third of a century.

Progressive metal has been confidently attributed to the band before, but if we follow the letter of the law, Coroner have always performed technical thrash metal. Right, there were prog elements in their music, but not to the extent of being considered a prog band. Take, for example, "Mental Vortex" (1991), their fourth album: only the final track, "I Want You (She's So Heavy)" – yep, a Beatles cover – contains obvious prog traces, and that's only because the original had prog in it.

Progressive thrash metal truly blossomed in its full glory only on "Dissonance Theory". Coroner acquired most of their new melodic progressions, which were not characteristic for them, thanks to this style.

Every metal subgenre is diversified, but this characteristic applies especially to progressive metal – too many dissimilar bands are attached to this style. The current Coroner are perhaps in that same vein as the progressively transfigured Enslaved (but before their path paralleled Opeth). Coroner eagerly use majestic groove with a prog-tinged edge, as evidenced, for example, by the beginning of "Sacrificial Lamb", that's one of the reasons Enslaved are remembered more often on "Dissonance Theory" of all the current (extreme) proggers.

Classifying Coroner's prog niche is complicated by the fact that starting with "Consequence" (opener "Oxymoron" is just an intro) Tommy Vetterli is soloing in a manner more befitting a progressive power metal guitarist – so much so that Savatage comes to mind on "Symmetry" and "Transparent Eye". The only exception is the unsettling solo on "Renewal", which lacks a power metal hint. Anyway, basically each song features a solo of varying sophistication, what is more, pulsating with a melody, though it's not particularly catchy.

It's not as if this scenario proved to be a soldierproof template. For example, a solo of this kind on "Sacrificial Lamb" doesn't really fit the canvas of the song, while the prog lick almost at its beginning is to the point. "Trinity" also stands out: at first the composition can boast a short lick almost in the vein of Cynic, then another progressive power metal solo enters, but it's somehow poppy, with a rather slick melody.

In fact, the songs aren't equal despite the album's cohesiveness. Or, more accurately, not quite equal. "Consequence" initially overwhelms you with its hodgepodge, fragments from different styles stand in a line here, they just follow one after another. You can even get embarrassed about what else to expect from the album. However, "Sacrificial Lamb" is more stylistically consistent. "Cirsium Bound" also has some unexpected drops, but either everything is already balanced, or you've already tuned into the musical texture and perceive everything naturally.

In its turn "Symmetry" is in line with the previous songs, and it's finally clear here that "shock and awe" were only at the beginning. But as soon as you calmed down, "The Law" appears – the most unusual song on the album. It's somehow incongruous and has not only a different manner of playing but also a different energy. There's not even a solo in this song. The following "Trinity" proceeds as expected, so you wait with impatience and curiosity to hear how "Renewal" will be perceived. Well, it goes off with a bang: the song is completely in the spirit of the album. However, it was more puzzling than aesthetically pleasing as a premiere single.

The final track, "Prolonging," is a triumph of the synthesizer in progressive metal. This instrument isn't an innovation for Coroner; we heard it on their debut, "R.I.P." (1987), as well as on "Grin," while on "Dissonance Theory" it's found in the piano finale of "Trinity" and a few passages with a synth backing scattered throughout the album – but here the synthesizer was given the opportunity for the first time to sound emphatically. A sophisticated and very intense synthesizer solo, it's pure art rock. A wonderful finale.

"Grin", by the way, makes its presence felt frequently during "Dissonance Theory". Although it only made a brief appearance at the end of "Consequence", but even that was somewhat reassuring, to tell the truth. Later echo of the predecessor appears more or less clearly on every song, even in the modernized attitude as on "Cirsium Bound".

In fact, what connects "Dissonance Theory" to its past (i. e. to "Mental Vortex" and "Grin" first of all) is palm muting. Although this technique doesn't make up a significant portion of the material now, and downtuned guitars can even create an illusion of groove metal, good old technical thrash metal emerges most often precisely during palm-muted riffs, pay attention to "Consequence" and "Renewal". But palm muting is a means of modernization on "Dissonance Theory" as well, and you can even hear a Meshuggah vibe in its sounding: on "Transparent Eye" (a slowed-down passage where the speed seems to be turned down with the regulator) and "Renewal". You can also hear on "Transparent Eye" such a modern technique as palm-muted riff with dissonant, squelching effect. In general, there are a decent number of dissonances scattered throughout the album, they are just presented unobtrusively.

Coroner are often referred to as an underrated band, but the truth is that their music though its originality has always been somewhat languid and draggy. Coroner might create a sense of vivacity sometimes, but these were fleeting, illusory passages. For example, "Grin" can be quite catchy if its mood takes you, of course, but it is downright tiresome in its monotony: in every song you're just waiting for Coroner to make an interesting move, so the acceleration in the last quarter of the title track, "Grin (Nails Hurt)", with its dry and precise drums is a veritable injection of stimulant drugs for the listener. Like it or not, this characteristic trait is one of the legacies/influences of Celtic Frost, which is evident on every Coroner album from the debut to "Grin".

"Dissonance Theory" is anything but tiresome, it's Coroner's most vital work yet, this album literally bursts with energy. Although Ron Broder's vocals still sound like Tom G. Warrior (well, almost), the Celtic Frost influence is nowhere to be found here with the exception of a couple of slow and suspenseful passages (like the one on "Symmetry" after the solo). Just because Celtic Frost and vitality are ill-assorted.

Metallica proved to be a powerful factor in the album's vitality: the melodism, uncharacteristic of early Coroner, is also brought to "Dissonance Theory" by Metallica. Their vibes can be felt already on "Consequence": thrash metal palm muting punchiness in the second riff is injected with insertions in the spirit of "Hardwired... to Self-Destruct" (2016) for sure. "Symmetry" bears a more obvious tinge of Metallica: the beginning is reminiscent of "Moth into Flame" from "Hardwired... to Self-Destruct" (then Rammstein is heard at the peak of the chorus, just one transition, but almost "Amerika"). Basically, there is some Metallica-esque "Grin" in this song.

Further, the acceleration on the second half of "The Law" is Metallica again. A short groove emerges after the opening riff of "Transparent Eye" – it's something between Enslaved and Metallica. The beginning of "Trinity" features a late-Metallica palm-muted riff as well. But the absolute champion is, of course, "Renewal" – there is a true Metallica potpourri at the beginning: the opening riff recalls "Blackened" from "...and Justice for All" (1988), while its ending is again from "Moth into Flame", and then you can immediately hear echoes of "The Day That Never Comes" from "Death Magnetic" (2008). It was a true provocation to release this song as the first single.

Metallica, however, is also not an "innovation" at all for Coroner. "Mental Vortex", that classic technical thrash metal album almost entirely built on palm muting, was literally interlarded with "...and Justice for All" tinges – the third song, "Semtex Revolution", could be called the most Metallica-esque. While on the following "Sirens", the album's strangest song, "Kill 'Em All" (1983) is sometimes heard behind the rough low-end groove and the strained vocals – well-camouflaged Metallica vitality is present here for sure.

To be fair, it's not a one-way street case: during "Paralyzed, Mesmerized", the eighth track on "Grin", we hear a lick that would later begin to sound on "St. Anger" (2003) in the bassline of opener "Frantic." Well, almost.

Summary. Coroner both remained true to themselves and transcended themselves. Try it together with them.

Colonel Para Bellum



..::TRACK-LIST::..

CD 1 - Album (47:21):
1. Oxymoron 00:58
2. Consequence 06:15
3. Sacrificial Lamb 06:02
4. Crisium Bound 05:29
5. Symmetry 03:58
6. The Law 05:00
7. Transparent Eye 05:16
8. Trinity 05:41
9. Renewal 05:21
10. Prolonging 03:13


CD 2 - 'Death Cult' Demo 1986 (24:34):
1. Spectators Of Sin 06:35
2. Spiral Dream 04:40
3. Aerial Combat 06:09
4. The Invincible 07:07



..::OBSADA::..

Ron Broder - vocals, bass
Tommy Vetterli - guitars
Diego Rapacchietti - drums




https://www.youtube.com/watch?v=oNpXujW3ySc



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