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The evolution is something natural for a band, especially when this band started out as a terrifically violent one, just like Krisiun did. As the time passed by, we could notice that this band put more attention on the songs’ structures, with lots of complex guitars parts and few stop ‘n’ go. The more grooving elements started to come out even if the violence of execution remained overall unvaried and still unmatchable for most of the groups around. Works of Carnage I believe is the very first album by this band to clearly display a sort of new attitude with the coming of a bit less impulsive sections.
The first thing we can notice for “Thorns of Heaven” is the frantic riffage of the guitar and the sharp production in Ageless Venomous style. The blast beats by the devastating Max are always precise and truly powerful, while the bass drums beats need no introduction for those into death metal and into Krisiun in particular. The vocals are always on growl as the first stop and go arrive for the tempo but not for the guitars that are always nasty and on savage palm muting. The drums triplets are more evident and we cannot rest for a second. The following “Murdered” is simply the best track here and once again the stop and go and the triplets accompany the savage riffs to increase a sort of truly apocalyptic atmosphere. The refrain is definitely catchier than most of the things they’ve done before, still remaining incredibly death metal.
We go on with “Ethereal World” and its weird atmosphere by the guitars over the neverending blast beats. However, the central/final part shows less impulsive death metal patterns but with the new song, the title track, we can really listen to something new in terms of riffs. They are always schizophrenic but with a sort of innovating touch and something progressive (??) that, anyway, lasts for few seconds. The parts are quite catchy and often the dissonant work is repeated over this song. The main riff on “Slaughtering Void” is very similar to the one on “Murderer” as we go on speed, through lots of lead passages and blast beats. “War Ritual” is another occasion to enjoy the violent drumming but nothing more.
“Wolfen Tyranny” is probably the most vicious tracks here being completely voted to the uncompromised violence of the early days, through a better production. “Sentinel of the Fallen Earth” is definitely darker and with the awesome epic touch in death metal format. The riffs are just huge and devastating and the speed is always at high levels. “Shadows” is another instrumental track that this time marks the guitar out with a solo, announcing the very good Venom cover “In League With Satan”, always death metal style. We finish this album with an outro and at the end I must admit that here we have another good effort by Krisiun. The evolution is visible and good, even if the past albums are a bit more intense.
Ok, so what we have here is the second-to-most-recent release from Brazilian death metal gods Krisiun and it's a little disappointing. Although I expected their trademark utilization of incessant blasting and boiling, seething guitar solos, what I didn't expect was for them to use these elements in such a forgettable, repetitive way. Yes, what plagues this disc is precisely what others have complained about...the fact that there is too much similarity among the songs and too much emphasis on blasting the hell out of you. The incessant blasting of Krisiun is a distinguishing mark of Krisiun in the death metal world(well, the limited death metal world that I know) and I appreciate that...I just wish it was used more sparingly and innovatingly.
As far as the guitars are concerned, Moyses Kolesne has a razor-sharp, buzzing tone that's great, but it's not as brutal as I expected. It just doesn't cut to the bone quite as much. It's just a dog chewing on one that doesn't actually penetrate it. More solos would've definitely helped too, but they're not as abundant on this release as I expected.
Another thing that bothers me about this album are the vocals. I guess it might actually be a complaint about the production, but Camargo's vox tend to get murky and sloppy at times, making everything run together. Don't get me wrong--he does great, nihilistic death metal vocals, but perhaps he's trying too hard to fit to spit out a plethora of syllables at one time and that makes things sound messy. The lyrics have a lot of 'big' words and since every song is a quick little fucker, he's just rushing everything out of his mouth.
Oh, and there are too many instrumentals and filler tracks that really serve no purpose and just aren't cool, so that sucks. If you're a death metal band and you want to make an instrumental track, make it like that instrumental track on Winds of Creation....that was actually memorable and fucking cool in its horror-movie-soundtrack resemblance. The instrumentals here are just 'bleh'y. Also, the cover of Venom's "In League With Satan" is also boring and incongruous with the sound of the album. It's just plain, plodding heavy metal with no discernible solos or attitude and it just doesn't fit. If they wanted to cover a song that doesn't fit on the album, they should've pulled a Children of Bodom and covered a Britney Spears song or something. The humor factor there overshadows any musical considerations one might have.
When it all boils down to it, this really isn't a bad album....it's brutal, evil, and pretty headbangable, but it's also pretty forgettable. Nothing really grabs you by the balls and says "DIE BITCH!" Perhaps another listen will reveal more musical nuances that I overlooked and a foray into their earlier albums will give me a greater appreciation for this band, who are not bad, but need a little improvement.
From the creators of such brutally inhuman fast albums like Conquerors Of Armageddon, comes the album which shows an actually good production (Century Media let loosed the budget, it seems). Ive read in an interview that this album was completely wrote in a jam session, and i guess that explains why its so awfully short (32 minutes, but includes an intro, an outro, 2 instrumentals and a cover from Venom, the predictable In League With Satan). This time Alex(bass/vocals) goes for a more understandable approach with his growl, courtesy of the production. His bass well, its becoming more and more present, which is a good think, considering they only have Moyses for guitarist. Moyses well, his riffing is impressively fast, the soloing, sounds like all the solos of theyre last albums.There is the obvious situation that it might sound empty live, since on the album they used rhytm guitars throughout the solos. But hey they dont want a 4th member, so we will have to deal with that. Basically this album is NOT as monotonous as either Ageless Venomous, or Conquerors of Armageddon. Some people still obviously find it just plain boring, but if your a fan of brutal death, you owe it to yourself, as the album has some killer riffing. And the drumming of Max has become far more competent, not just an insane drum roll, and blast beat all the way, it is far more controlled. I really enjoyed this album, as i am a fan of all things death, but if your not a death metal fan, i doubt this will win you over, but this is in my humble opinion their best album to date. And easy to find also which is a plus.
The undisputed kings of Brazilian madness are back with their already fifth studio-album and the three brothers have created once again a total reign of horror!
Devastating moshing death metal that never looses its speed. This is just destroying everything out there! Heavy, fast and evil death metal that also contains sped up guitar solos. But mostly these guys just play brutal and hellish fast death without any compromise.
Infernal blast-beats that set a new standard on the whole American continent. Although blast-beats aren't a sign of diversity Krisiun are able to make them something special with the wise black metal guitar work! "Slaughtering Void" is the best example for this high-speed attack that contains long "instrumental" parts and leave space for the drum/guitar battle.
Proof of their qualities are available on "War Ritual", an instrumental track with machine gun drumming and shredding guitar riffs. Krisiun also show their love and appreciation for Venom and cover "In League With Satan", they stayed true to the original so musically it doesn't fit to the album at all but thats a minor detail. One of the most important brutal death releases this year and one of my favourites beside the latest Vital Remains outburst!
The latest album from the Brazilian threesome Krisiun highly disappoints. Strong vocals, great (though repetitive) riffs, and the above average double bass blasting on the drums by Max Kolesne. But it seems like the band ran out of ideas half way through the album. After the terrific "Thorns of Heaven" catchy as hell "Murderer" and the title track and a couple other average songs, we get two tracks that are just instrumental wastes. They aren't even good; I don’t even know what the fuck they are. "War Ritual" is a 1:12 waste, as is "Shadow" a waste of 1:50. There is also an outro that well, is a 2:10 waste of stupid noises and a cover song. The cover song is Venom's "In League With Satan", although it is done very well, it just isn't original at all. This songs been covered before, come on cover something different please. With all that being said, that gives you approximately 8 minutes of unoriginal material, taking up 4 tracks. The album is very short clocking in at barely over 31 minutes with twelve songs, with all that instrumental garbage and outro and cover song the album only has 8 "new songs" and a 23-minute run time. It's essentially an EP forced into an LP's case.
With that being said there are some good things this album has to bring to the table. It is very well produced all instruments flow together without the drums over shadowing the guitars like on the previous release, "Ageless Venomous". Sadly, there couldn't have been more actual songs on this album, the exotic solo's by Moyses Kolesne are terrific in adding a type of apocalyptic feel to the tracks on the album. Good example of this is track 5 "Slaughtering Void".
All in all, this is probably Krisiun's best-produced album sound wise, but worst in the material department. The actual songs on here work well but way to much filler on an already short album, only four songs clock in over 3 minutes none over four. Hopefully Krisiun will put more music on the next full length because they are a talented band and have always been a step a head of most brutal death metal bands. Worst release by the band.
Best Tracks: (1) Thorns of Heaven (2) Murderer (4) Works of Carnage
OK...we all know how fast Krisiun are by now, and honestly I find most bands like this to be boring in the long run. I really have to be in the mood for this kind of relentless blasting death metal, especially when the drummers resort to the common cheat of playing both kick drums beneath an ungodly fast snare and use the SAME DAMN OBNOXIOUS CLACKETY-CLACK triggered drum sounds! That said, well, Krisiun are one of the best at what they do, and this CD is an improvement over "Ageless Venemous" in both production and vision.
Pierre Remillard's production is sterling--you can hear the bass for once and it is loud, mean, and just as distorted as the guitar, for one. The drums are still triggered, but not as much as before, and sound lots better, and Moyses, well, he plays him some guitar to say the least! "Thorns of Heaven" and "Murderer" will rip you apart, and the instrumentals are short and sweet, as well as not as populous as on the recent (disappointing) Morbid Angel release where they take up half the damn CD! Even a pretty damn righteous cover version of Venom's "In League With Satan" where Alex sounds like he'll tear your face off. I like the little instrumental bits like "War Ritual", but thought the outro was boring and unnecessary.
The songs in general are more focused than the last CD, also, more direct and yet more musically able as well. Krisiun have come a long way in that field--their early material was, shall we say, less than tight or musically proficient (something that Moyses freely admits these days). In short, this is another installation in the Krisiun dicsography that, while as brutal and relentless as usual, also shows progression if nothing else. Recommended for fans of this style and even if you want to check them out and have never heard them before.