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Rather lackluster, I'm afraid - 58%

colin040, July 11th, 2018

I’ll be the first one to admit that regardless of the genre itself, death metal with quite some emotional depth is of high value to me. At The Gates, as well as Septic Flesh and even The Chasm themselves at one point were masterful bands that had more to offer than your ordinary throwing-the-horns-while-breaking-your-neck death metal fix. The Chasm, however, would succeed at that during their following up record, but on Procreation of the Inner Temple, despite its potential, leaves me more often cold than amazed.

My first reaction to this thing was rather positive thought. I remember being overwhelmed by its sinister atmosphere; lead guitars never fail to impress and play some of the most twisted melodies I came across of, whereas the vocals resemble the deepest torment of mankind. Lyrically, too this thing feels vocalist Daniel Cochardo struggles with personal demons and gladly shares them with anyone willing to listen - To say that Procreation of the Inner Temple is of no value at all isn’t exactly fair. Unfortunately, things are just more uneven here than they should - which is a shame because at their best, The Chasm really deliver. ‘’Honoris Lux Infinitus’’ is most puzzling (in a positive manner) here and once the chorus reveals the emotionally numb thoughts of Daniel Cochardo with wailing guitars expressing no hope in sight, really starts to pick up. Slowly speeding up and I can’t help but think that the claustrophobic atmosphere of the tune recalls the best moments of early The Gates which is a huge accomplishment. On the other hand, ‘’The Cosmos Within’’ appears to be the band at their most riff-driven on this record, blasting away with several riffs varying in tempos – sounding almost like a mixture of early Amorphis and Morbid Angel. ‘’Stair to Aspirations’’ ends the album with a serious ominous feeling to it even if has one memorable riff popping up at one point that's rather uplifting.

Otherwise, there are five tunes left that have much to be desired – occasionally picking up, but very rarely having actual impact. Take ‘’The Day of Liberation’’ for instance, that opens up with a memorable stoner doom riff but otherwise goes one ear in and one ear out. ‘’The Lonely walker’’ seems more on the experimented side (think of gothic rock influenced) and with singing leads and baritone-alike spoken segments sounds like a more ineffective version of Paradise Lost’s ‘’Shattered’’. I suppose those curious about The Chasm’s roots could check this out, but I’d rather recommend From the Lost Years... instead.

¿Qué? - 89%

OzzyApu, June 26th, 2009

Let it be known that this was my introduction to The Chasm, so I’m not holding it to the standards of their later releases. However, I will hold it to the standard of production for death metal albums at the time. This isn’t in the sense that the production is god awful, but rather strange, otherworldly, and makes me feel like I’m in another dimension. It’s extremely thin, with vocals very up-close in the mix, drumming extremely drowned, and the guitars stretched to the point where they become soundscape models. The most sinister of these is the sort of “clean” or “melodic” lead, which offers no less than the most occult of obscure philosophies.

The sound of the entire album is raw and complex, yet devoted to a certain theme. Regardless of what the lyrics really entail, song after song continually puts me in thought patterns of doubt. It makes me question reality, seek the knowable unknown, and reason with the unknowable known. For these reasons, I really can’t ever see myself “getting” into the music. The songs are great, but it’s this ever-ominous presence that bars my transcendence into complete enjoyment. Even after futile investigations do I come up with little evidence to explain why these songs were written and recorded in this way.

Listening to the beginning of “Confessions And A Strange Anxiety” (and further through) starts off in a culmination of noticeable traits revolving around how “fucking awesome” the song is. However, from out of left field roars my train of thought; notions in the ocean of motion conceived in the temple of my mind on the deeper meaning of what I hear before me. The truth goes beyond base understanding of how it “slays poseurs” and becomes fixated on a plateau of uncertainty with no convalescence for the boundaries of which humans have no control over.

Vocals do not stray far from the orthodox nature of death metal, with the growls thin in desperation. They’re subtly louder than the clamor of the drum kit, but aren’t annoying and contribute less to the atmosphere. Drumming itself is a pummeling charge, but the double bass is dubiously quiet, contradicting the obnoxiousness of the cymbals. Each cymbal crash rings in your ears and floods the music more than required, while the toms are also relatively metallic. Bass duties don’t go unheard, but their impact is minimal in the grand scheme of things. With the unorthodox song structure and riffs, they’re hardly anything to take priority over. Over the supernatural setting the bass broods onward, entranced by in relative motion.

The characteristic of this release that boggles my mind and stands as a monolith contending with the rest of the instruments, hands down, is anything dealing with the guitars. They’re spacey, mystic, paranormal, melodic if need be, and haunting on so many levels unrelated to other death metal albums. Procreation Of The Inner Temple isn’t a top contender against Entombed’s Left Hand Path or Death’s Symbolic, but it’s the most unique album I’ve ever heard in the entire scene. The songwriting is what I’d consider heretical, the riffs themselves multifaceted, and the mood I’m set in compounds reactions into bewilderment. To some degree, the guitars do border cacophony and most of the songs drag on in this manner. I end up becoming confused and lost while the music keeps driving on without a helpful hand. Many of the tracks also go much longer than our present timeline would have it do, especially when taking into account how bored you’ll become just expecting something familiar to pop up.

The overall impression keeps you curious though, proving to provide more density in its own solidarity. The tracks themselves are more like events or pieces to this puzzle withstanding time fall and fall again. Looking back on this, it really didn’t situate The Chasm high in the death metal scene, but it kept us in a state of caution. All we knew Mexico for was it’s corruption, cheap hookers, and Taco Bell. The Chasm shattered these false icons in a bid to dispel the lies, which have become acknowledged, yet erroneous, in our own civilization. I’d hell of recommend this one to you, but I can only imagine the later albums to be better not just based on omens attained through blood spilled in the name of a God long forgotten… but because the other reviews on the band page are pretty high in consistency…

Incredible Debut - 91%

TheSomberlain, February 3rd, 2006

This is The Chasm's first album. The guitar and bass sound on this album is very nice. You can hear the bass throughout the entire album, which is always a plus. With this album The Chasm played a style of death metal all their own. The production is a bit more raw than later albums but with the guitar tone it fits very well. I personally love Daniel Corchado's guitar playing. The riffs have a really doomy depressing sound to them and the solos are very melodic.

The opening track, Conqueror of the Mourningstar , is one of the best off of the album. Nice melodic riff and solos all over the place. The next two tracks, A Dream of an Astral Spectrum (To an Eternal Hate) and Confessions of a Strange Anxiety, both have some spoken parts in them that sound out of place a bit, but they don't last that long. A Dream of an Astral Spectrum has some killer bass to start off the song. The best song on the album is The Day of Liberation. Like almost all songs by The Chasm it starts out with some great riffage. The last track is The Lonely Walker (My Pride and My Wrath) which has some more spoken parts but is really an instrumental outro. I'll let it be known The Chasm write the best instrumentals.

If you can find the re-release it comes with two tracks, The Cosmos Within and Stair to Aspirations, both from the Awaiting the Day of Liberation demo. These songs sound a lot more raw, which is obvious since these are demo tracks. Corchado's vocals are a lot deeper and more death metal sounding than his vocals on the album, which are still very death metally, but have a bit of a black metal rasp going on. Stair to Aspirations has some very nice guitar and bass work.

I haven't mentioned it but Antonio Leon delivers a very good drum performance. The Chasm unleashed a brand new death metal sound to the world with this album. It stands as one of the best death metal debuts and a small preview of the greatness that was to come from The Chasm.

"In Order to Embrace the Ultimate Goal, the Last Liberation, Total Sacrifice and Dedication Must be Practiced and Executed, No Matter What..."

Good start, but lacking - 60%

natrix, April 14th, 2004

The Chasm tends to get less experimental and more focused as they go on. This, their first album, shows them at their most experimental, but most unfocused. There are a few hints of the brilliance to come, but overall, it's similar to Orphaned Land's Sahara.
Daniel's voice is fucking crazy on here--alternating between rumbling growls and a totally hysterical scream. Nobody does the hysterical stuff better than Daniel Corchado, that's for sure! Antonio's drumming is okay, nothing special, and the production makes it seem a little sloppy.
The guitar tone is lovely--something between old Black Sabbath, and the synthetic tone on Iron Maiden's Somewhere In Time. This makes the whole album seem spacey and airy, a sharp contrast to From The Lost Year's dense, dirty sound. At some points, the dissonant riffs and odd timing remind me of Voivod, just done in a lot heavier manner.
"Confessions and a Strange Anxiety" is a cool track, the main intro riff being repeated. There's also a strange melody over the verse, and some really spacey guitar over the chorus. "Honoris Lux Infinitus" is a great doom song, probably the best on here. "Awaiting the Day of Liberation" has a really depressing part at the end that totally crushes, after it blasts for most of the song.
The main problem is that the songs are usually long, and contain pretty strange riffs that are a little difficult to digest, even after repeated listens. You'll find parts of songs that are totally cool, but others that just leave you scratching your head. The production makes it seem a little too airy at times, and kills some of the heaviness.
If you're lucky enough to get the version of this with the bonus tracks from The Chasm's first demo, you're in for a treat. The songs from that are much rawer, very dirty, and heavy. It's similar to an Incantation album, perhaps, but with The Chasm's trademark sound. Sure, on one of the songs, they go into a happy little part that sounds like "St. Vitus Dance" from Sabbath's Volume IV, which is really strange and kind of funny. Other than that, the heavy parts are bonecrushing. Totally cool stuff, really dark.
The lyrics are generally good, as I consider Daniel to be rather good at describing his feelings, but they're full of strange grammar and weird word combinations, kind of like an Immortal album. Daniel does, however, express his genious best through a guitar.
The Chasm were destined for something bigger, and you could tell that they had a lot of potential with this release.