One of the best "comebacks" - 91%
Written by ME on April 25th, 2006
I can tell you that I was anticipating this release, but I can't really tell you why; I just don't know. Perhaps there was a certain factor of being unpredictable, unlike many other reunions. What I received was a product I was incredibly happy about: Neither a half-hearted rehash of "To Mega Therion" nor a ridiculously pathetic attempt to imitate contemporary, mainstream styles. Tom G. has brewed a titanic monster of atmosphere, churning out bludgeoning groove at a pace that one could call a new becoming for Frost.
"Monotheist" begins with some feedback and an "UGH!" signifying that Celtic Frost is far from being done. The interesting thing about Tom G.’s nuances as a vocalist is that over time, his voice has simply become “cool.” Strangely, the awesome heavy groove pace of the riff doesn't change under the blasting drum beat; this gives off somewhat of a disturbing feeling, something a mannerist piece might do towards one's eye. The leads in the bridge work towards heightening the atmosphere, while the transition that follows back to the verse only adds to the feeling of being trapped in dank, blackened chaos.
We've all heard "Ground," and this new version brings more of a rockish feeling towards a once totally industrial tinged track. The bludgeoning, simplistic mix of Reverend Bizarre and Godflesh within a sphere of darkened atmosphere continues, with Tom's vocals putting off one of the most haunting airs in the amazing "Os Abysmi Vel Daath."
"Obscured" seems to be where most of the comparisons to old Type O come from. This song serves as somewhat of a break from the heaviness, but does nothing to deter from the prevalent atmosphere. Sorrowful with a beautiful female vocal, one can hear Tom's old age coming through on the vocals; there’s no worthier track for this sort of sound, for it's totally appropriate in the context of such a sad song.
"Obscured" doesn't overstay its welcome, as the melancholy fades and gives way to the ridiculous heaviness of "My Domain of Decay." Most likely the catchiest track on here, "My Domain..." retains much of old-school Frost without sounding plastic or uninspired. “Ain Elohim" comes back to the faster pace of "Progeny," but at times sounds a bit too similar. However, the incredible bridge saves the song from being mediocre.
Finally, the build up comes towards the final epic: The intro track, "Incantation Against" seems almost like homage to Dead Can Dance, and leads into "Synagoga Satanae." The feedback at the beginning immediately brings SunnO))) to mind, while the song moves along yet again like a combination of Reverend Bizarre and Godflesh. The pace crashes down continuously, inspiring visions of a stabbing motion, until come time for the bridge of the song. Half way through, one can hear a chilling nod to The Melvins leading to an interlude, as the song builds back to a refrain and chilling outro.
"Winter (Requiem)" ends the album on a classy note, as if it allows the listener to collect himself after the long, long trip through Celtic Frost's new magnum opus. Say what you will about Tom G., he more than delivered with this effort. This album is the true evolution of Celtic Frost, and I am more than anticipating the upcoming tour, and an even more challenging follow up.
The usefulness of AIM without the mess of AOHelL software on your computer.
