Zyklon World Ov Worms
Candlelight Candle061CD 2001
By Russell Garwood
Zyklons World Ov Worms shows a marked change in direction from the days of Zyklon-B to a more brutal black/death hybrid. The line up now stands as Zamoth (the S has been changed to a Z) and Trym from Emperor, Destructhor from Myrkskog and full time vocalist (despite being listed as a session musician in the credits) Daemon of Limbonic Art. Virtual super-group status means that session musicians include Trickster G (Garm) from Ulver and American fetish queen Persephone.
World Ov Worms is a searing, brutal and intense slab of extreme metal; what you would expect when you mix the different influences present in Zyklon. The guitar is super-fast and heavy, the bass less prominent, and Tryms drumming amazing; not only fitting with, but complementing the music (see the use of the crash at the beginning of opener Hammer Revelation). The vocals - quite different from Daemons earlier work - are actually comprehensible, making a pleasant change. There is variation in the music; multiple time changes, sporadic melodic riffs, some female vocals, and well dispersed electronic effects throughout the album (for example the almost industrial/dance section in Chaos Deathcult). As you would expect from such a technical album, the production is excellent; crystal clear and perfectly balanced.
There is one major weakness however, the lyrics. Written in jail by ex-Emperor drummer Bård Faust Eithun, they are often broken, nonsensical and childish; for example Ultra death, hardcore thrash; give me your call/ Holy death, in presence of which I gave you it all (Deduced To Overkill). The pretentious explanations (such as An abstract key word based lyric criticising just about every single monotheistic, dogmatic religion around, for their suffocation-like grip on their adherents for the above lyrics) only go to show how completely Eithun has failed, and demonstrate his gross misinterpretation (in my eyes) of the texts and philosophies upon which many of the lyrics are based.
This is not a large problem however, and overall this is an extremely impressive album, well worth purchasing; after a period of acclimatisation it just keeps calling you back
Candlelight Candle061CD 2001
By Russell Garwood
Zyklons World Ov Worms shows a marked change in direction from the days of Zyklon-B to a more brutal black/death hybrid. The line up now stands as Zamoth (the S has been changed to a Z) and Trym from Emperor, Destructhor from Myrkskog and full time vocalist (despite being listed as a session musician in the credits) Daemon of Limbonic Art. Virtual super-group status means that session musicians include Trickster G (Garm) from Ulver and American fetish queen Persephone.
World Ov Worms is a searing, brutal and intense slab of extreme metal; what you would expect when you mix the different influences present in Zyklon. The guitar is super-fast and heavy, the bass less prominent, and Tryms drumming amazing; not only fitting with, but complementing the music (see the use of the crash at the beginning of opener Hammer Revelation). The vocals - quite different from Daemons earlier work - are actually comprehensible, making a pleasant change. There is variation in the music; multiple time changes, sporadic melodic riffs, some female vocals, and well dispersed electronic effects throughout the album (for example the almost industrial/dance section in Chaos Deathcult). As you would expect from such a technical album, the production is excellent; crystal clear and perfectly balanced.
There is one major weakness however, the lyrics. Written in jail by ex-Emperor drummer Bård Faust Eithun, they are often broken, nonsensical and childish; for example Ultra death, hardcore thrash; give me your call/ Holy death, in presence of which I gave you it all (Deduced To Overkill). The pretentious explanations (such as An abstract key word based lyric criticising just about every single monotheistic, dogmatic religion around, for their suffocation-like grip on their adherents for the above lyrics) only go to show how completely Eithun has failed, and demonstrate his gross misinterpretation (in my eyes) of the texts and philosophies upon which many of the lyrics are based.
This is not a large problem however, and overall this is an extremely impressive album, well worth purchasing; after a period of acclimatisation it just keeps calling you back
