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There just seem to be no human words for the majestic greatness of this album; though I am taking an attempt to describe this mind-hitting power - which is as fatally strong as death. After the matured Celtic Frost, releasing their unholy 'Monotheist', disbanded again, I had been more than pissed off. I thought it was the end of something new and the new beginning's genial production, there would not be a single follow-up, therefore erasing the possibility of winding even more up the limits of extremity. Luckily - and I could not be thankful enough for my error - , I was wrong again.
If 'Monotheist' was a ton-weight album, then Triptykon's 'Eparistera Daimones' crushes all the pillars of the universe. Monolithic riffs accompany every songs, the variety of shifts and changes exceeds most similar – if there actually exist any of such entity – formation's creativity, the sound simply destroys everything living and non-living to ruins. The darkness, coming from the atmosphere of their music, is overwhelming. Listening to this album is most similar to the feeling of being constantly kicked in the head, and it's like an all-consuming vacuum at the same time. This creation delivers anybody right to the grinding gassy caverns of Hell!
Triptykon – knowing their grandiose conceptions and ideas - , not really surprisingly, dare to open with a monstrous, eleven minutes long song, entitled 'Goetia', in the vein of 'Monotheist'; it's starting off with oppressing, down-tuned guitars, which are very distinctive throughout the complete disc as well. Desolate, sick cantations, roarings and malicious, distressed, occasionally ringing-out guitars characterise 'Abyss Within My Soul'. 'Shrine' is a threatening, hellish interlude, while in 'Descendant', the beginning reminds me of Mayhem's 'Wall of Water' from the 'Ordo Ad Chao' release. All in all, floating, meditative, smashing slow parts (even piano!) and brutal, grinding fast parts alternate, relentless doom riffs blast in, accompanied by Fischer's insane roarings, shrieks and various, totally inhuman voices. One thing why I very much appreciate this album is that they had absolutely hit the sound in the head – thankfully, this is mostly well-sounding, crushing enough doom, and a mixture of clearly indistinguishable genres. Over all, professionally played, obscure doom metal and occult, shattering darkness reign over the whole release.
What is really outstanding, those are the bass parts. A beautiful and devilishly talented girl, Vanja Slajh, handles the bass, which appeared to be a bit surprising after hearing the first samples and checking out the first photos that came out to the press. She is an organic and pleasant phenomena in the band's line-up. As I noticed, there is hardly any distortion on the bass throughout the songs, it is very interesting to hear the clearer sound. There are only a few exceptions ('Myopic Empire') for this remark. The distortion of the whole album's guitars is really special, anyway. It savagely ruins the membrane of the speakers.
One song, that at first listen I found a little weird - and later totally fell in love with it - , is 'My Pain'. It is a simple and very beautiful, soothing and exotic composition, with fragile, natural female vocals and additional vocals (rather Novembers Doom-like spoken lines) of Fischer, pieced together with fine guitars and atmosphere. Here I must mention the deep meaning of lyrics; Tom sets much of his agression, pain and personal struggles out via his lyrics and writings. All my respect goes to him.
Some words on the cover artwork and inlay: Triptykon were approved to use H.R. Giger's – one of present's most original artists - painting from 1978, 'Vlad Tepes'. Other special features are the portraits of the bandmembers, all painted in blood by Vincent Castiglia. I must say this absolutely fits the conception and if I may be allowed to share a pretty subjective opinion, one of nowadays' sickest bands, Triptykon, could hunt down two of the three sickest artists of our present (for me, third place goes to Andres Serrano) to flesh out their musical masterpiece – it has turned out to be more than an awesome constellation.
An enormous composition, 'The Prolonging' is closing 'Eparistera Daimones', almost twenty minutes of sweeping and magnificent extremeness, it is very similar to 'Synagoga Satanae' from Celtic Frost's 'Monotheist'. Triptykon's debute hopefully opens a new chapter in the history of improved extremity – addictive from the very first listening, exceeds all expectations, and devilishly original. A new milestone of metal.