XXV

XXV was my first Vader experience. Absent of expectations, my virgin ears heard this compilation in pure accordance to the band's vision. For instance, on the song Reign-Carrion, I personally worship the newly manifested keyboards. Veteran Vader supporters of the 20th century may better know that song's less harmonic counterpart from the band's infamous 1990 demo. Regardless of the version, each track equally flays mortal man. This is Vader simply honoring their own 25 year legacy. Who better to do so than themselves?

Referring to this compilation as mere "re-recordings" is a common mistake for humans with limited vocabularies. No, these are highly creative reinterpretations of past accomplishments from one of the most esteemed death metal bands on the planet. As a standalone album, XXV is a worthy hour and a half time investment. Although originating from various albums, these tracks are maturely bonded together by an underlying theme: chaos!

More specifically, organized chaos. With the aptly titled first full song, Vader chimes the pandemonium war bells to commence the assault. Blasting out of the gate with unholy precision, the onslaught feels chaotic but, you know this attack is entirely premeditated. Each band member is a battle-hardened commander whose well-honed instrument forces a jaw tightened teeth grinding. Materializing in your blind spot throughout this fog of war, Peter's wordless howls are like haymakers you subconsciously knew were coming. XXV is intentionally arranged to deliver the greatest impact and, as if leading an army of InVaders from the front lines, Vader brings this world to its knees.

Earth is conquered. To quote the song Dark Transmission, Vader now aims to control all of time and space:

Strings of the universe vibrate
Sending black messages ahead
Mutant waves across the world
Chaos is on the air

Alongside tempo changes that one would expect from interstellar radio emissions, the keyboard synth in Dark Transmission completes the chaotic formula. Like light traveling faster than sound, the ethereal piano notes arrive moments before the mayhem. This is an outstanding reinterpretation of an old song! With keyboard contributions from the infamous Siegmar, additional tracks such as Silent Empire, Carnal and Kingdom are elevated in their blasphemy. Much like Siegmar's deeds on Behemoth's song "Ov Fire and the Void" on the album "Evangelion," any justification for Christianity crumbles under the weight of such aural monoliths. The sooner the human race bows to these Polish demigods as rulers of this universe, the better.

Seriously, consider performing these tracks for decades to a live audience. Perhaps while you were reading this, Vader may very well have been playing them again. And, again. Along such an enduring journey, truly creative artists would contemplate new ways to portray their past successes. For many tracks, the original foundations remain intact while new darkened melodies are explored. For others, songs are reignited with 21st century production. Across these reinterpretation styles, Vader is praiseworthy in their confidence to publish a milestone such as XXV. Few bands ever earn the opportunity to even attempt such a feat.

I recall a vivid memory from 2008: I was browsing compact discs in the mall, alone. It was here that XXV beckoned me from amongst the rows of plastic masses... In the subsequent years that followed, this beast eroded the ears of those in a certain Jeep Cherokee Sport; against the will of many a passenger. Nowadays, a different Cherokee more often plays my favorite CDs Necropolis and Welcome to the Morbid Reich. But when XXV demands entry into the compact disc player, the reinterpretations of Crucified Ones and Xeper duly honor my ear's past sacrifices.

XXV has taught me that hearing impairment is a cyclical phenomenon. As the sound of metal music rises, auditory perception falls. In turn, the metal must further rise again. And, again. If black is to the blind then tinnitus is to my deafness.