Not Myself

Corum are holders of one of the finest doubles (a band releasing two strong albums in quick succession before splitting up or taking a big break) in US metal history; and yet they remain a fairly obscure entity of whom not many fans have heard. This short discography is a product of three masterminds from Minneapolis, Minnesota, who had set their minds on the more complex, more technical side of the genre. Their debut is a major statement of intent with its multi-layered maze-like structure combining power, thrash and progressive metal in various configurations which don’t rely too much on speed, but make up with dexterous, clinical execution and numerous melodic embellishments.

The album reviewed here is a step up in almost every department, especially in the complexity one as the guys have woven spiral-like labyrinths of stupendous riff-patterns. It does have a few flaws (nothing’s perfect) that will be mentioned later, but this is one of the rare examples in which the truly shiny moments largely compensate for any more or less mitigated pitfalls. The beginning is quite “heavy”, though, in the form of the marvellous short jarring shredder “Heaviest” which jumps up and down in a very busy manner ala Realm and Watchtower, the cannonade reaching virtuoso proportions towards the end, the positive impression consolidated by the very good emotional clean vocals. Once this short introduction is over the band start complicating the environment with longer progressive mazes like “Proctology” which lures the fans with a lengthy lead-driven balladic “idyll” after which commences a superb multi-layered shredfest offering a myriad of time and tempo changes which overlap each other in a fairly hectic fashion for nearly 10-min with a couple of mesmerizing melodic tunes giving this “puzzle” a more digestible outlook. “Cry for Help” is a more immediate creeper with urgent dramatic riff-formulas and a more dynamic faster-paced stroke breaking the mid-tempo domination.

“Angel Beard” would be a pullback being a nearly 12-min ballad; nothing fancy, just dreamy acoustic lyricism which some may consider a voluminous waste of space. “Still Breathing” finds the guys “still breathing”, thrashing hard with the staple jumpy very technical riffs which are enhanced by fine melodic leads, and intense speedier passages the latter giving this cut a nice headbanging aura. A 3-min noisy “Intermission” may pass for another miscalculated decision, especially after the mentioned gigantic piece of serenity, but all is forgiven once the title-track commences and unleashes another wave of superb intricate riff “salads” also providing a great memorable chorus, not to mention the Shrapnel-like lead sections. “Overunderachiever” is an eclectic balladic doomster with heavy guitars and romantic acoustics taking turns the superb leads having the final say again. “Magnnitude” is a supreme epitaph to this grand opus, a fast-paced technicaller with very sharp cutting riffs and a vortex of complicated riff knots the leads assisting on the side with more dazzling interference.

Progressive thrash was a foregone conclusion on the US metal scene by the end of the 90’s, and this band came as a very fresh breath of air although their deep underground status prevented the fanbase from getting better acquainted with their work. The progressive metal audience has been accustomed to more lyrical digressions so there will be few who would frown upon the balladic escapades. After all, this album is not strictly constructed on the good old thrash base, but looks at a wider pool of fans who should by all means be delighted with what’s been offered. The old school resurrection wave had started moving at the end of the decade, and Corum were right on time to participate in its spawning stages. They didn’t last long enough to play a more prominent role in this campaign, but their elaborate, multi-layered creations by all means constitute some of its finest moments.