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Let it be known that this was my introduction to The Chasm, so I’m not holding it to the standards of their later releases. However, I will hold it to the standard of production for death metal albums at the time. This isn’t in the sense that the production is god awful, but rather strange, otherworldly, and makes me feel like I’m in another dimension. It’s extremely thin, with vocals very up-close in the mix, drumming extremely drowned, and the guitars stretched to the point where they become soundscape models. The most sinister of these is the sort of “clean” or “melodic” lead, which offers no less than the most occult of obscure philosophies.
The sound of the entire album is raw and complex, yet devoted to a certain theme. Regardless of what the lyrics really entail, song after song continually puts me in thought patterns of doubt. It makes me question reality, seek the knowable unknown, and reason with the unknowable known. For these reasons, I really can’t ever see myself “getting” into the music. The songs are great, but it’s this ever-ominous presence that bars my transcendence into complete enjoyment. Even after futile investigations do I come up with little evidence to explain why these songs were written and recorded in this way.
Listening to the beginning of “Confessions And A Strange Anxiety” (and further through) starts off in a culmination of noticeable traits revolving around how “fucking awesome” the song is. However, from out of left field roars my train of thought; notions in the ocean of motion conceived in the temple of my mind on the deeper meaning of what I hear before me. The truth goes beyond base understanding of how it “slays poseurs” and becomes fixated on a plateau of uncertainty with no convalescence for the boundaries of which humans have no control over.
Vocals do not stray far from the orthodox nature of death metal, with the growls thin in desperation. They’re subtly louder than the clamor of the drum kit, but aren’t annoying and contribute less to the atmosphere. Drumming itself is a pummeling charge, but the double bass is dubiously quiet, contradicting the obnoxiousness of the cymbals. Each cymbal crash rings in your ears and floods the music more than required, while the toms are also relatively metallic. Bass duties don’t go unheard, but their impact is minimal in the grand scheme of things. With the unorthodox song structure and riffs, they’re hardly anything to take priority over. Over the supernatural setting the bass broods onward, entranced by in relative motion.
The characteristic of this release that boggles my mind and stands as a monolith contending with the rest of the instruments, hands down, is anything dealing with the guitars. They’re spacey, mystic, paranormal, melodic if need be, and haunting on so many levels unrelated to other death metal albums. Procreation Of The Inner Temple isn’t a top contender against Entombed’s Left Hand Path or Death’s Symbolic, but it’s the most unique album I’ve ever heard in the entire scene. The songwriting is what I’d consider heretical, the riffs themselves multifaceted, and the mood I’m set in compounds reactions into bewilderment. To some degree, the guitars do border cacophony and most of the songs drag on in this manner. I end up becoming confused and lost while the music keeps driving on without a helpful hand. Many of the tracks also go much longer than our present timeline would have it do, especially when taking into account how bored you’ll become just expecting something familiar to pop up.
The overall impression keeps you curious though, proving to provide more density in its own solidarity. The tracks themselves are more like events or pieces to this puzzle withstanding time fall and fall again. Looking back on this, it really didn’t situate The Chasm high in the death metal scene, but it kept us in a state of caution. All we knew Mexico for was it’s corruption, cheap hookers, and Taco Bell. The Chasm shattered these false icons in a bid to dispel the lies, which have become acknowledged, yet erroneous, in our own civilization. I’d hell of recommend this one to you, but I can only imagine the later albums to be better not just based on omens attained through blood spilled in the name of a God long forgotten… but because the other reviews on the band page are pretty high in consistency…
The Chasm have always stood out on their own in the field of death metal. Their brand of what I refer to as "Dark Death Metal" has won over many metalheads, including me. However, every band has to start somewhere, and Procreation of the Inner Temple is The Chasm's start, and it was a rather rough start. This album shows a young band who would soon become one of the most unique death metal groups of all time.
The production is a bit edgy, which is forgivable being their first album. This album succeeds in giving off a very dark atmosphere that is a bit airy. It really sounds like it was recorded in a chasm. The instruments can sound rather rough at parts, and this works both positively and negatively. The guitars have a dark tone to them, and this works for the most part, but this makes the solos sound a bit messy, which is disappointing since Daniel Corchado has some of the best guitar solos in heavy metal. The bassline has a gloomy, crushing "thump" to it. The drumming is mixed rather oddly. The cymbal seems to be mixed higher than anything else from the drums. The subdued drum beats take away from the intensity a bit, but this lends to the more gloomy sound. This "aged" production manages to weaken the record, yet at the same time make it stand out on its own, with a more spacey sound similar to Voivod.
Them musicianship is one aspect where The Chasm excels. Daniel Corchado's growls sound similar to Altars of Madness era Morbid Angel with a touch of black metal evil. The guitarwork is where this band really manages to capture me. The stick to their own style, yet there manages to be something different on every album, and here is no exception. Daniel's guitarplaying has always amazed me, as he and Luis Ramos work together to craft amazing riffs and astounding leadwork. The guitarwork on Procreation of the Inner Temple has a doom metal influence in the tempo and riffs, as opposed to the thrashy riffs of later albums, while mixing in the complexity of death metal. The guitarwork here isn't as technical or as classically influenced as it would get on Deathcult For Eternity onward, but it's still rather complex, and also invokes a bit more melody than their later material. The solos are a bit more noisy on here than on the other records by the Chasm, but they're still rather melodic, and the noise mainly comes from the production. The basslines from Luis Martinez are almost like a weight that keeps the album in the shadows, and it never lets go. The drumming is not typical of death metal. Rather than blast through the whole album, drummer Antonio Leon tries out different techniques and experiments, including a lot of cymbal work, though that doesn't mean he has no speed, he just uses it tastefully.Very unique guitarwork and a competent rhythm section.
The songwriting is beautiful. One thing that The Chasm can do well is blend complex musicianship with excellent songwriting. Out of all of The Chasm's works, their debut is the most doom metal and black metal influenced, as well as their most atmospheric, also making it their darkest album. In fact, this sounds similar to a more technical Severed Survival/Mental Funeral era Autopsy, but with more doom, melody, and darkness and without the punk influence. My only problem is that certain parts of some songs tend to drag on too long. The lyrics are very complex, which is uncommon in death metal. Daniel chooses to search within himself for the answers to life. Each song contributes a piece to the album. "The Day of Liberation" is the darkest, most depressing song on the whole album, with the acoustic melodies and the ending invoking sorrow all around you. "A Dream of an Astral Spectrum" starts off great, with some great drumming by Antonio and a nice solo by our axemen, though the end of the song kinda just drags along. One of the best songs is "Honorus Lux Infinitus", with some weird, twisted riffs and melodies and cool leads, while the opener, "Conqueror of the Mourningstar", crawls along and crushes you, while providing some excellent guitarplaying and a twisted solo. Another one of my favorites is "Confessions of A Strange Anxiety", with my favorite guitar solo on the whole album and an interesting vocal performance. However, the instrumental track "The Lonely Walker" didn't really do much for me. The solo is good, but the rest of the song kind of bores me. The Chasm have made some excellent instrumental tracks on later albums, but this one didn't appeal to me. The last two tracks, "The Cosmos From Within" and "Stair to Aspirations" are from their demo days. These tracks sound more like typical death metal, and more great guitarwork and even some nice basslines, even though they do sound a bit out of place.
Overall, this album was the foundation for the Chasm's later, better works, which go in a more progressive direction, as opposed to the doom influences on this album. It's still a great death metal release, it's just not the best place to start. Make this the last album from The Chasm that you own. If you're new to the band, start with "Conjuration of the Spectral Empire" or "Deathcult for Eternity" instead, as they are superior albums and new fans of The Chasm may find this a bit hard to swallow.
This is The Chasm's first album. The guitar and bass sound on this album is very nice. You can hear the bass throughout the entire album, which is always a plus. With this album The Chasm played a style of death metal all their own. The production is a bit more raw than later albums but with the guitar tone it fits very well. I personally love Daniel Corchado's guitar playing. The riffs have a really doomy depressing sound to them and the solos are very melodic.
The opening track, Conqueror of the Mourningstar , is one of the best off of the album. Nice melodic riff and solos all over the place. The next two tracks, A Dream of an Astral Spectrum (To an Eternal Hate) and Confessions of a Strange Anxiety, both have some spoken parts in them that sound out of place a bit, but they don't last that long. A Dream of an Astral Spectrum has some killer bass to start off the song. The best song on the album is The Day of Liberation. Like almost all songs by The Chasm it starts out with some great riffage. The last track is The Lonely Walker (My Pride and My Wrath) which has some more spoken parts but is really an instrumental outro. I'll let it be known The Chasm write the best instrumentals.
If you can find the re-release it comes with two tracks, The Cosmos Within and Stair to Aspirations, both from the Awaiting the Day of Liberation demo. These songs sound a lot more raw, which is obvious since these are demo tracks. Corchado's vocals are a lot deeper and more death metal sounding than his vocals on the album, which are still very death metally, but have a bit of a black metal rasp going on. Stair to Aspirations has some very nice guitar and bass work.
I haven't mentioned it but Antonio Leon delivers a very good drum performance. The Chasm unleashed a brand new death metal sound to the world with this album. It stands as one of the best death metal debuts and a small preview of the greatness that was to come from The Chasm.
"In Order to Embrace the Ultimate Goal, the Last Liberation, Total Sacrifice and Dedication Must be Practiced and Executed, No Matter What..."
The Chasm tends to get less experimental and more focused as they go on. This, their first album, shows them at their most experimental, but most unfocused. There are a few hints of the brilliance to come, but overall, it's similar to Orphaned Land's Sahara.
Daniel's voice is fucking crazy on here--alternating between rumbling growls and a totally hysterical scream. Nobody does the hysterical stuff better than Daniel Corchado, that's for sure! Antonio's drumming is okay, nothing special, and the production makes it seem a little sloppy.
The guitar tone is lovely--something between old Black Sabbath, and the synthetic tone on Iron Maiden's Somewhere In Time. This makes the whole album seem spacey and airy, a sharp contrast to From The Lost Year's dense, dirty sound. At some points, the dissonant riffs and odd timing remind me of Voivod, just done in a lot heavier manner.
"Confessions and a Strange Anxiety" is a cool track, the main intro riff being repeated. There's also a strange melody over the verse, and some really spacey guitar over the chorus. "Honoris Lux Infinitus" is a great doom song, probably the best on here. "Awaiting the Day of Liberation" has a really depressing part at the end that totally crushes, after it blasts for most of the song.
The main problem is that the songs are usually long, and contain pretty strange riffs that are a little difficult to digest, even after repeated listens. You'll find parts of songs that are totally cool, but others that just leave you scratching your head. The production makes it seem a little too airy at times, and kills some of the heaviness.
If you're lucky enough to get the version of this with the bonus tracks from The Chasm's first demo, you're in for a treat. The songs from that are much rawer, very dirty, and heavy. It's similar to an Incantation album, perhaps, but with The Chasm's trademark sound. Sure, on one of the songs, they go into a happy little part that sounds like "St. Vitus Dance" from Sabbath's Volume IV, which is really strange and kind of funny. Other than that, the heavy parts are bonecrushing. Totally cool stuff, really dark.
The lyrics are generally good, as I consider Daniel to be rather good at describing his feelings, but they're full of strange grammar and weird word combinations, kind of like an Immortal album. Daniel does, however, express his genious best through a guitar.
The Chasm were destined for something bigger, and you could tell that they had a lot of potential with this release.