Unsung Prophets & Dead Messiahs - Orphaned Land
- Orphaned Land
- Release date:
- January 26, 2018
- Century Media
The heavy heritage
With a cultural and musical caring, embracing approach of the israeli Orphaned Land one of metalscenens more interesting bands. Just as admirable and their compassionate approach is just as unifying their musical expression. On a base of middle eastern, progressive death metal, they have merged with so many other genres, that they become completely their own, and mestendelens with great success. This was obvious to me, since in 2004, Mabool: The Story of The Three sons of Seven took me on a journey on their magic carpet, and through the music and words would show the way for an agreement between the three religions: Judaism, christianity and islam. It was epic, grand and magical, even if not all the people cared about the heights, they would show us the world from. Since then, Orphaned Land preserved in their approach and sound, albeit with mixed results for me, even though they all the time have moved on musically. With the seventh release from the israelis - the Unsung Prophets and Dead Messiahs - they take me again in your hand to show me their musical world. But I'm cautious on a promise that they can show me everything my heart desires from them.
Out of the cave to the promised land
The best draw hand theme is important for Orphaned Land, and deserves a few words with on the way. It is inspired by and developed from Plato's hulelignelse and man's insistence on not to see the light, because the cave is what they know. The musical representation of the sung words is a contributing element to lift the album's level considerably, since there are presented a musical journey filled with emotion, ranging over the whole gamut, however, most marked by frustration and sadness.
The band is moving once more away from the dødsmetallen for the benefit of the progressive and melodic, albeit they retain the ubiquitous middle-eastern touch and the now iconic sound, which makes it unmistakably Orphaned Land. We fly elegantly and effortlessly through the genres, from the progressive on "The Manifesto" and "Left Behind", to the epic of "The Cave" and "Take My Hand", to the heavy and brutal in the "We Do Not Resist" and "Only the Dead Have Seen the End of War", and to the almost meditative "Poets of Prophetic Messianism". The more melodic approach is evident on the disc's best composition, "Like Orpheus", where they will be joined by none other than Blind Guardian own Hansi Kürsch, which wonderfully compliments Kobi Fahris enchanting vocals. The album is, however, a regular tour-de-force of guest artists, which also counts prog. the legend of Steve Hackett and To The Gates singer Tomas Lindberg, who each put his personal stamp on the music. The album is so dynamic, well-written, well-acted and well-produced that it almost assumes its own metaphysical existence, and embraces its listener in its spell.
Orphaned Land shows you everything
Orphaned Land have here done their best album since the aforementioned Mabool, and it has through my many weeks in its company engineered all my følelsesregister. The guest musicians bring an already completed product a great dynamism and adventurous narrative of the musical universe in such a degree, that my påtagede Aladdin references at the top is perhaps not as tåkrummende, as you could think. Make no mistake, the Unsung Prophets and Dead Messiahs to be taken seriously in both composition, sound and message, and they manage to create a fabulous atmosphere that baffles, overwhelms and impresses me, as I was Jasmine. There are 1001 reasons to pay tribute to Unsung Prophets and Dead Messiahs, but I may only hand out 10 skulls, so I do.
>> Check the songs and lyrics here