Adeptus Delicti

I’m not an aesthete, when it comes to metal in particular. For me quantity has always been much more important than quality, otherwise how was I going to accumulate such a voluminous collection? If I turn to an aesthete (god forbid!) right now, all of a sudden, that would mean a large portion of my collection to go down the drain as it consists of ultimately obscure, deeply underground, roughly produced recordings that it’s highly unlikely for anyone to ever recall them, and give them a proper treatment unless I pull myself together and establish a recording/music-polishing company (a thought I’ve been entertaining recently, as a matter of fact) one of these days…

and the works of the band under scrutiny here will be one of the first to be shot into the aether, after quite a bit of tweaking around with them, though, cause theirs are one of the most pristinely made exploits to ever grace these ears. And yet, this isn’t such a big obstacle for the guys’ genius to shine as theirs are also some of the most technically exuberant recordings the scene has ever known. The 2005 compilation, which contained tracks recorded before the demo here, is a highlight on the underground metal circuit, an extraordinary technical thrash/death fiesta that beggars belief at times. Very similar stellar stuff is on offer here, six compositions closing on just above half an hour, the approach elaborated a bit, reaching progressive dimensions on the more labyrinthine tapestries.

“Pit of Hunger” is still on the marginally more orthodox side, starting this unparalleled shredfest with more aggressive deathy strokes and a couple of stylish pirouettes ala Atheist and Invocator later on, warming up the listener for the otherworldly intricacy of “My Godly Intend” which, apart from some broken English, offers a pleiad of supreme mazey riff-patterns the guys juggling through time and tempo changes with the utmost precision, not leaving much room for the lead guitarist to express himself, but the latter will have such chances aplenty on “Freeze Your Laugh”, another astounding exercise in inordinate technicality, the riff density reaching the one on Deathrow’s “Deception Ignored” and Sieges Even’s “Life Cycle”, if not even going beyond those. “Where Sleeping Gods Lie” carries on with the highly-stylized rifforama the band taking care of a couple of more melodic configurations, those also helped by the timely appearance of more expressive cleaner vocals to oppose to the not very convincing deathy semi-declamatory main ones. “Vatican Blasphemy” is a masterpiece of contrasting vistas, a challenging combination of creepy minimalistic motifs and hyper-technical death metal that would bedazzle all the representatives of the not yet formed at the time dazzling brutality movement. Thrash takes over, though, on “The Hosts of Pain” which notches up the melody thanks to the lead guitar player again who has to fight his way through some of the most tightly woven riff-knots in German metal history, not to mention the several plot twists and the few more laid-back dramatic developments.

Pretty much a standalone entity that couldn’t quite fit into the technical/progressive thrash wave that started at the same time in Germany as the band were more aggressive, siding more with Baphomet’s “No Answers”, and with the works of a few artists outside Germany like the Dutch Decision D, and the Russians Aspid’s only album “Extravasation” (also 1992). A sloppy sound and unrehearsed vocals aside, this effort is a most affirmative testimony for the prodigious talent lying buried underneath the official release lustre, a tantalizing mosaic of genuinely inventive soundscapes that never cease to amaze even after multiple consecutive listens.

I guess this is where such hugely gifted musicians belong, far from the mainstream, far from the mass’ complacency, away from the posh studios and the pernicious managers… and, now that I think of it, do I really need to try and improve anything on this effort as a most distinguished sound producer in this or the other life? Nah, forget about it; let’s leave works like this the way they are… most shining examples of musical diamonds in the rough.