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Impurity's follow-up to their first album you'd imagine to be more extreme, more heinous and hopefully a little more "together" as musicians usually should be once finally recording. 'Into the Ritual Chamber' does hold some of their past nature, takes out some other areas and essentially presents a somewhat evolved side to their still evil mentality.
The band here still believes in some blasts and faster sections, and on both releases they have maintained a basic attitude to song writing. So, the underlying idea isn't to impress you with musicianship, rather than to get your head to bang from simplicity. For the majority of 'Into the Ritual Chamber' it has this slower to mid-pace momentum where they'll for the most part palm mute and move around (though not very far) with thicker stringed power chords. Then in between that throw in some explosive sections and more galloping mid-range beats. The music in a way seems to be inspired by Samael's 'Blood Ritual' and 'Ceremony of Opposites' where both releases used the "basic + slow = heavy" line of thought, or even something like Barathrum's 'Eerie.' But I have to honestly say those were the epitome of that formula. One of the issues with this release is that the band doesn't have the same amount of catchiness as those albums, for instance. Or how to incorporate the instruments in a way to stand out on their own more often as another example that made up for those albums' unadorned take to musicianship.
You might have heard the "stretching beyond abilities" phrase thrown about to describe bands who want to play complexly, though not heeding to ambition and paying the consequences with bad timing or the musicians not coming together to form a "band." Well...a new one is a group that writes in a basic and uncomplicated way and then even mucks that up. Because to varying degrees with this album, the guitars and drums fall in and out of time with each other. Oddly enough, this has a three year gap that must have been used for fishing and bowling practice than honing their craft at instrumentation. It wasn't as obvious on the last recordings due to the fuzzy production job and the effects dumped right on top of that. And that recording was going for a more spontaneous feel, sort of like an extension of their personalities and like they were merely rehearsing. This, however, is louder sounding and cleaner produced by comparison. Though probably depending on how they recorded it for whom the main blame would land on. I can't just say it's the drummer's fault or the guitarist's, since they both have their own moments of breaking the beat. This is going to be more obvious during the slower to mid-sections, and even the faster parts here and there create these unintentional pause-like hiccups that sound as if he's losing strength or forgot where the music is going underneath. 'Hmmm, I think the guitars are slowing...the devil's chin-hair! he's still on the move.' Even his tempo changes rise and fall, and instead of it coming out as innocent compared to classic material like Sodom, Bathory or Sarcofago, it just seems off. I'm going to go with my best guess here and say that for the majority of the recordings they attempt to add a clear headed side to their music with one thing moving at a time and attempting to become more structuralized as a band compared to the last recording, but due to whatever constraints that were holding them back it most likely just came out rushed. Because most bands would just wait additional time to get songs this basic down pat, instead of having guitar solos that translated to speech would be a royal stutter, or the drummer sticking with some dulled fills that more than likely are first go attempts without the practice to back it up.
The vocals have less effects and are more croaky and raspy sounding. Kind of like a back of the throat straining technique and have less bellow from the diaphragm. They seem more there for extreme metal comfort but less unique sounding and distinct than the last recording. And with the guitarist having his continuous chugging moments, he would have to take more initiative to make up for some stationary moments instead of just going along with it or merely matching the structure. Saving the day he does not. The guitarist alters between chugging, strummed and faster tremolo riffs. Unfortunately, he has the tendency to fall into ruts during some slower sections and come out actually feeling "slow." I've heard of bands writing a good riff and they'll literally let you know it by hammering it to you, maybe it was a producer that told them so or a friend who said they've got a good thing and to run with it, though when a band has a basic riff (something that can sound like filler or a bridge to a better part) and only to find out as a listener it is the main riff, you'll be led on a series of disappointments and downturns as the album's trudging time length rolls on.
On the other hand, Impurity's release has a share of moments, a fully dedicated track with acoustic guitars, wind and some background clean chanting was a variation amongst the rest of the songs. And then there are some other delivering moments; for the patient and passionate you can locate them as 'scattered about,' for the irritable and busy-no-time-to-chime person you should honestly move on. For me, it wasn't split up as evenly as I would have hoped, and 'Into the Ritual Chamber' I also feel is a little too undemanding and lacks a "special" something that would break out of the merely mildly bumpy pathway they were leading my ears on.