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The fine fraternization of death and black metal comes in few recipes more satiating than the Polish variety, and on a visual level Opole's Devilish Impressions appear to fit the bill shared by Crionics, Vesania, Begerith, Sammath Naur along with a smattering of lesser known acts. The percussive lockstep of jackhammer riffage and a menagerie of orchestral volleys gives this band's sound a more exotic and cerebral feel, which helps bridge many a gap yielded by a marked lack of technicality. Dissonance is palpable, riding the coattails of the epic undercurrents fairly effectively while the riffs occasionally creak and lumber with a borderline-primitive gait redolent of early Vesania minus some level of the latter's eclecticism.
Simulacra is Devilish Impression's third and to date final full-length effort, and is hardly a sprawling affair for the style, clocking in at barely forty minutes sans bonus tracks. That said, the record feels longer than it is, and not in a necessarily negative manner either. Tunes feel stuffed to the gills with competent orchestral flourishes to help temper the typical concussive, percussion-driven Polish death/black riffage that dominates the majority of the album. Some tunes have a lower key feel that reminds me of Enthrone Darkness Triumphant, particularly "Scream of the Lambs." Olbryt is a capable frontman and songwriter, but his vocals stand out the most to these ears. His barbwire-laced drawl is venomous and savage like mid-era Shagrath, specifically the short period where he actually sounded quite impressive (Spiritual Black Dimensions). There are also overacted clean vocal attempts that remind me of Morfeus from Limbonic Art. These aren't particularly well executed and come off as a distraction.
The biggest problem I have with Simulacra is the lack of true neck jerking moments of mayhem. The riffs feel tethered to the orchestrations and only occasionally crank out some nice industrialized God the Lux-styled flesh searers. Leads are scarce but competent, but most of it is space-filling tremolo fodder that simply doesn't cut it for me. Worst of all is the bonus track "Prince of the East," which gives the completely unsurprising guest appearance by Orion seven minutes of riffless orchestral soup to pontificate over. It's just a long, cheesy voiceover with mindless lyrics and more unfulfilled build-ups than a high school tease. Well, that's seven minutes wasted!
Simulacra has good moments, but nothing patently great. "The Last Farewell" toes the line between the brutality and orchestrations effectively and feels cinematic enough to sell the subject matter. "Solitude" opens with a morose lead and symphonic stingers worthy of Devilish Impressions' clear influences and countrymen. Finally, "Legion of Chaos" profits from some variation and depth of riffage, with strong pinch harmonics and a more dangerous feel overall. The remainder has occasional moments of veracity, but overall the album is merely middle of the road considering the musicians involved and production values. This feels like it should have been more, but for a band that has been cranking away for nearly two decades, Simulacra might be a nice chance of pace for those tired of the same basic rotation of symphonic death/black fare.
It would take a hundred years for me to describe the genius music that has been created by Devilish Impressions in their third full-length album Simulacra, though I really like the previous albums (Diabolicanos - Act III: Armageddon and Plurima Mortis Imago), but I can easily decide that (Simulacra) is the best release for the band so far. Every album for this band is a total different world than the previous one, the components of black metal mechanism and the symphonic joints are welded together to create a huge phenomenal record!
The artwork is also very remarkable, it shows a frozen statue of a dark-winged devil and another statue for a bright-winged angel, both are standing still on a tainted ground of a big cathedral hall. The album open its doors with the track Icaros, the song contains many influential riffs and biotic drum-beats and orchestral breezes, Quazarre also managed to use his infernal clean vocals and his demonic throat to give the lyrics more vital existence. The track "Legion of chaos" is a unique piece of art where (Icanraz) on drums exerted his best to suck your attention to this hellish death\black metal black hole. The third track "Lilith" is my favorite piece in this record, the using of the clean vocals alongside the crispy black metal vocals gave this song more sharpness and coarseness, and the perfect ending acoustic guitar outro of the track has been done by "Roman Berenicki". The track "Fear no gods" is a fierce and ferocious black\death metal track that has many great influences and technical radical performance, (Vraath) on bass and (Quazarre and Armers) On guitars made this track the most sledgehammer meal in this record.
The track "The scream of the lambs" reminds me a lot of the previous album (Diabolicanos - Act III: Armageddon) because it has the same smell and structure, and even the same drumming technique, its a very wonderful track and it has many tides and reflows. The sixth track "Spiritual blackout" began with devilish spoken vocals and orchestral dusky atmosphere, about half of the lyrics is taken from the British poet George Gordon Byron. The seventh track "Vi veri vniversum vivus vivi" is influenced by the American author (Edgar Allan Poe), especially by the amazing poem (The Coliseum), musically the song leaned on the symphonic death metal side and it reminds me a lot of the very successful release (The Great Mass) for the symphonic death metal band (Septic Flesh), an amazing solo has been done by Jacek Grecki (The guitarist of the Polish technical death metal band Lost Souls) in the middle of the track. The track "The last farewell" is a great mixture where all the previous and the new works of the band have been melted together, its (Diabolicanos - Act III: Armageddon) and (Plurima Mortis Imago) in the golden plate of (Simulacra). And finally the album close its curtains with the amazing instrumental track "Solitude", I guess nothing can describe the instrumental better than (this is definitely one of the best instrumental tracks of the year).
Many guests have been featured in this record to help the band with the samples and the orchestral elements, such as Lestath (from the Polish avant-grade metal band StrommoussHeld), and Flumen (who is also known as Wojtek Kostrzewa, the keyboardist of the Polish metal band Asgaard). The production is crystallized and fierce, which can fit the components of the recording without flaws, If you are searching for perfect black\death metal meal with symphonic and orchestral elements, and if you are a fan of the Polish acts (Behemoth, Vesania) and you wish to mix these two amazing bands together in one orchestral dish, the result will fascinating, the result will be (Simulacra).
Level Of Originality : 9/10
Level Of Ferocity: 10/10
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