The Heretics - Rotting Christ

I have something for myself

The things I previously loved by Rotting Christ, among other things, their massive blanket " that is so tightly woven that not even the archangel Gabriel could pierce it, has now been written over by their 13. album. Their well-known choral works is now boring and redundant, and it is, when they avoid all the usual fremgangsmetoder that Rotting Christ really come to their right. Of The Heretics , they have disposed of monotoniens shackles, gradbøjet their principles and shown that even though one has made music for over 30 years, so one need not stop to innovate or keep stubbornly stuck in tradition.

Made in hell

The Greek metalafguder has for many years been flying the flag for the southern chapter of the black metallen. Their final record was well received by us, but the criticism of the simplicity and repetition was also well-founded, seen with fresh eyes. For nothing gives perspective like to take a step back and see it all from above. It is really the case here, on the Heretics. Their 13. the album shows new sides of them that gets it usual to see, yes... simple and repetitive. You're gonna get what you came for, but it's not safe, that is what you are for.

 

I'm not like the others

From the moment the music starts, we have to do with their wall of sound, as we know and love it, but already at the second number hauls Rotting Christ a rabbit out of the hat. Tredjesinglen, "Vetry Zlye", is a foray into pagan black reserve with a nordic touch, in sound and mood. The classic and hellenistic black metal is almost reduced to an afterthought, and make their usual middelhavsmetal in relief. There is a stone on the riff that weaves itself in and out between grundfjeldssatte drums, and the whole event is the disc's undisputed highlight. The female featured vocals give an otherworldly edge to a number, which centers on the forsangerens deathly serious vocals. Halfway through, we have the brutal "Dies Irae", which rolls relentlessly as on crawler tracks and is initially reminiscent of the excellent "Elthe Kyrie". It suffers unfortunately under something that at several gennemlytninger has proven to be one of the biggest weaknesses. Although the music is this time spread over multiple facets, remains the choir, a constant, stuck in the standard and keeps the plate back more than it carries it forward.

Neither can all sorts of Miltoncitater compensate for the fact that Sakis Tolis does not have the voice for anything other than to roar on the cape with half a hell, and certainly not a compelling speaking voice. But my hernia over the spoken word and the choir will be put to shame on "I Believe", with both a successful monologue in Greek and a choir, which does not dominate the mesmerizing picture, manages to soften my sour anmeldermine. On the "Four Good and Fear" get Marduk comb their blonde hair, but best as I thought I had put the number in the bay, it changes gears and delivers a brilliant solo. The kind of excesses are no strangers to the boys; for a black metal band are surprisingly able to deliver compelling solos. But I have never heard anything so chrome plated heavy metal from a band that most go up to sound like a heavily armed, legion from hell.

Heretics are much more experimental than its predecessors, both in the power of the discrete electronic instruments in the background on "The Time Has Come" and a drawl core-riff on "Heaven And Hell And Fire", which is probably seen before, but never before so prominent. Finally, is the musical interpretation of Edgar Allan poe's "The Raven" is a fitting end to a plate, which bodes well for their development. It is a very doom-influenced number, and had it been any other Rotting Christ plate, it had fallen completely through.

 


>> Check the songs and lyrics here