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The Aftermath of the Aftermath - 92%

bayern, January 12th, 2018

Back to a demo stage, our friends here, after releasing one of the undisputable masterpieces in the annals of metal... I guess this was where they belonged all along, in the deep underground, where the aftermath from all possible vogues and trends, and experimentations can be found…

And this is where one bumps into this 4-tracker, buried deep, albeit released just two years after the eponymous full-length. The planned ascension towards the stratosphere is more than evident although this is a transitional effort, one that never saw the mission accomplished as it remained the last thing created from their camp, at least within the more rigid metal confines.

A marvellous attempt by the band to traverse the 90’s vogues in a way similar to Coroner on “Grin” which on “Japan” comes wrapped in a seductive doomy miasma, a surreal semi-thrashy shredder with hallucinogenic psychedelic overtones akin to the Australian avant-gardists Alchemist. “Metallic Slums and Highrises” is a serpentine, labyrinthine piece sustained in mid-tempo at best with sinister atmosphere the latter also evoked by the strangely dispassionate, mechanical vocals which alternate between semi-whispered hisses and semi-declamatory antics. “God is in the Details” is a creepy minimalistic post-thrasher, a sure leftover from Corner’s “Grin” also recalling the Swiss’ cut “Shifter” from their 1995 compilation album, a twisted macabre number which flows into the more serene vistas of “Strain”, a pensive quasi-doomster with an effective, hypnotic main motif which lures the listener with its anti-climactic vibe.

Yes, a new path was initiated, one that didn’t quite sound like the guys’ earlier exploits, but one that was definitely worth treading on by the devout fanbase. A path that didn’t promise too many nervy thrashy leaps and jolts along the way, but one that showed the shortcut to illumination and transcendence beyond mere metal-prone ways of expression…

And one that the guys prolonged, but very wisely under a different moniker, Mother God Moviestar; one full-length released in 1998 with all the four cuts from here present, but served in a modified form, tweaked around a bit and devoid of the more aggressive condiments in order to suit the spacey cosmic aura of this new enterprise which belonged to the avant-garde/alternative/psychedelic side of the metal/rock spectre. Said enterprise never developed beyond this one-album stunt, and with the band back under the Aftermath banner in 2014, it seems as though the new millennium will be soon befallen by another grand visitation from these lords of the underground.