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Eurovision Song Contest - 20%

rasmushastrup, May 5th, 2008

I'm well aware that Galder is almost universally lauded as some sort of black metal genius, but I have to say that the reason for this eludes me. This release is a perfect example of how not to make keyboards work in a black metal album, in my opinion - the keyboards are simply much too overwhelming, to the point where they utterly dominate the entire listening experience. I mean, used right (and economically), keyboards can certainly add atmosphere to a track - see for instance "Hate" by Impaled Nazarene (from the album "Ugra-Karma").

The OMC album starts out decently enough with "Phantoms of Mortem Tales", a track that actually possesses a rather good combination of melody and heavyness. Track three, "In Black Endless Void", is also somewhat tolerable (as is track # 6, "Obscure Divine Manifestation"), but the album as a whole is so severely dragged down and compromised by the impenetrable bog of keyboard-mud that permeates (almost) every minute of the CD.

It is entirely possible that some kind of metal beast lies buried beneath the layers upon layers of keyboards, but from my point of view it's well-nigh impossible to discover, let alone actually get cut or stung by its fangs or singed by its fiery breath. Oh, and the lyrics seem contrived, if not downright stupid, too.

So, is this black metal? I wouldn't know, because everything is submerged in keyboards. Well, you might ask, are there any blast beats? I wouldn't know, because of the fucking keyboards. Melody? Probably, but I'm only able to hear the keyboards' melody.

In short, this album represents such an excess, such an overindulgence in terms of keyboards, that it, for me, becomes pretty much impossible to listen to. On the other hand, if you think that the entire combined output of Depeche Mode and Erasure is somewhat lacking in the keyboard department, then this album is most likely right up your alley.