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The Crawling Chaos came out this April and confirmed two things. First and foremost, it confirmed that Puteraeon gradually move forward with every new release, which is something their loyal fan-base have already known. Then, there is this second thing, also representing the common knowledge I guess, saying that, style-wise, they won’t ever forget the first ladder they started climbing from.
To all fairness, the space between those ladders doesn’t seem very wide to me, which makes their journey more of an evolution than the revolution, but nevertheless, they represent one of those bands you can rely on to deliver every time and sometimes that’s all that matters, to be loyal and honest, to the sound you have chosen and to the fans who respect you and support you precisely because of choosing that particular sound and sticking to it.
I must say that I was also one of those guys who thought Puteraeon’s previous studio efforts were better than the most of what was served at the table around that same time, as far as this old school Swedish death metal nostalgia revival was concerned. Still, if I was to compare both predecessors to this new beast, I’d vote for the latter simply because, this time around, the riffs seem to be slightly better, more mature and able to resonate longer in the listener’s memory.
Similar to The Esoteric Order and Cult Cthulhu, The Crawling Chaos also doesn’t possess the songs that vary much, both in terms of the structure and the quality, but on a plus side, precisely because of that, the album has very nice, interrupted flow from the beginning to the end. However, I if was forced to pick a representative few, I guess I would go with In Dreamdead Sleep and From The Ethereal Vortex, for there is something about these two songs that makes them more appealing than the rest of the material.
Sound-wise, there are some new elements to be found here, like those horrorish spoken word samples, that are slightly overused in my opinion. I also think they don’t fit the musical content quite well, as the music itself is muscular and savage before anything else, while those samples have completely different flavour to them, being essentially morbid, creepy and spooky. But that’s really the minor flaw. The flaws that are somewhat bigger are the drum patterns and the vocals who, to my taste, sound a little bit too death’n'roll this time around and much less mean than on the predecessors. Being directly influenced by Entombed, this is not to be considered a surprise, but I would just like, when it comes to worshiping Entombed’s legacy, to hear Puteraeon focusing more on Left Hand Path than on Wolverine Blues, if you understand what I mean.Speaking of the novelties, that wonderful organ intro to the album-titled number must be mentioned as well, if for nothing else, then for taking me back to the days when Cradle Of Filth were truly redoubtable band.
Good thing about Puteraeon is that their albums always display the magnitude of riffs that are a bit more convincing than those of their countless peers, the way songs are structured is always more interesting, the sound is always a bit tighter and the production a bit more professional. Granted, I’ll reach for Left Hand Path or Like An Everflowing Stream over The Crawling Chaos pretty much any day of the week, but in comparison to Swedish death metal bands of their generation, I can only think of 5 or 6 they should bow down before, figuratively speaking, even though some of those bands are completely different beasts anyway (Morbus Chron, Tribulation or Necrovation for example). Therefore, if you’re looking for someone who is able to invoke those long-gone times when the Swedish death metal was taking its shape with dignity, look no further. Within these coordinates, Puteraeon is almost as good as it gets.
- Towards The Inevitable