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A Small Confined Space Packed with Groove - 72%

bayern, October 10th, 2017

Ironically, this outfit are a sheer product of the new millennium; statistically. Music-wise, however, this is a wholesome tribute to the past decade with all the heaviness, groove, and dirge that could possibly be mustered. As one of the last outcries from the dying movement, the album reviewed here had to sum up the whole fading groovy carnival, and there’s very little outside this intentional or not bow to an influential, albeit pretty divisive music vogue.

What’s also interesting to note is that the band amazingly have no relations to the veterans from their homeland (Akela, Ossian, Kalapacs, Moby Dick, etc.); something very unusual in Hungary where the majority of the metal practitioners are invariably somehow connected to these four outfits. Well, their chosen stance must have kept them astray as the old school sounds have always been the more favoured ones over there, and products of the groovy 90’s haven’t been very warmly welcome…

Welcome or not, our friends here have built a sizeable career out of these alien, bleak sonicscapes, and are still alive and well some 17 years after their inception. The album reviewed here is the most exemplary display of their static, robotic delivery which is modelled after the Canadian school of groovy, industrial post-thrashy/post-deathy thought (yes, there’s such one), think later-period Obliveon (both “Cybervoid” and “Carnivore Mothrmouth”) and Soulstorm, the vocal presence also following a similar direction the man growling in a more comprehensive semi-shouty death metal baritone. The guys pull themselves together from the get-go, intent on building a thick wall of miasmic chuggy, industrial noise, and they largely succeed with very heavy, steam-rolling riffs which never develop beyond the mid-pace, and inevitably cling towards the monotony parametres at some stage.

The insertion of sparse cleaner vocals by all means provides the needed change of scenery, and if we add the several atmospheric, ambient passages the picture becomes way more tolerable later on, not without the help of the more technical arsenal which the band unleash all of a sudden on the title-track the latter even providing short speedy strokes to bang the head, a dynamic “oasis” made bigger with the addition of the short spastic rager “Technika Angyala 2” which also features the most technical guitar work on the album. Pleasant surprises served mid-way, but only ones of their kind as what follows suit is short orchestral instrumentals (“Nullpont”), soothing acoustic outros (“Kek Eg Zold Fu”), neither of them any bad, but some may cringe on the sleazy dance/industrial/metal cavalcade “Tuladagolt Ido” which is just a not very necessary joke with echoes of Rammstein and KMFDM.

A belated, also conclusive, effort by any means, this opus isn’t quite on par with the mentioned Obliveon albums as it doesn’t really serve anything new, treading familiar paths vociferously the guys only occasionally displaying sparkles of genius which ultimately fail to conflagrate the instilled groovy “cloud”. If released some ten years earlier, this effort could have made more heads turn as such rigid sterile, dry templates were pretty much the order of the day, but at the dawn of the old school resurrection campaign trying to keep an already dormant spirit alive was tantamount to a premature career termination…

Not that these valiant Hungarians ever cared about trends and prevalent tastes as they carried on in exactly the same manner on each of their subsequent instalments, raising the flag of the modern groovy industrial post-thrash movement high, and I guess one should admire them for staying the course all these years, not feeling tempted to spice their scholastic approach with any more flexible retro notes. Groove dies hard, especially when having the mighty Huns’ descendants as its loyal entourage.