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Vladimir's journey - 90%

MikeyC, December 8th, 2008

Vladimir Cochet is a busy man. He is in numerous bands, and seems to be writing a lot of albums and contributing constantly to the metal scene. This is one of his bands, titled Weeping Birth. I suppose with a name like that, you’d expect misogynistic lyrics and shitty goregrind, but what we have instead is pure sonic bliss.

And with a name like Vladimir, how could you NOT make a badass album?

All jokes aside, Anosognosic Industry Of The I is a pummelling assault on the senses. It’s pretty much a mix of brutal death metal and black metal, with some rare quieter, slower sections squeezed in there. A quick look at the running time would have potential listeners running away…73 minutes. 73 minutes of relentless brutal music would normally bore you to tears (Vital Remains are getting close to this stage, so that could be a warning for this band), but this album doesn’t. In fact, you’re always ready to hear what Vladimir has come up with next, because the guitar riffs are really, for lack of a better term, interesting.

Speaking of riffs, the album is bursting at the seams with them. There is a lot of shredding going on, which goes hand-in-hand with the drumming very well. The epic “Der Tanz Der Toten” contains some exceptional guitar work, and the quiet section closer to the end shows that Vladimir does not need to rely on pure speed to create some great music. The whole song slows down, and we’re subjected to the more melodic riffing style of Weeping Birth. To be truthful, it’s a wonderful “break” from the brutal onslaught of armoured tanks firing guitars and drums, and it’s one of my favourite sections of the album.

The drumming is performed by a drum machine, but even the experienced listener may not be able to tell. The one way you could tell is by listening to the inhumanly fast double-kick work in “Love, Death’s Betrothed”…a person couldn’t do that, but besides that minor giveaway, Vladimir’s programming skills have worked wonders. Judging by the technicalities the drumming produces, it must’ve taken him many sleepless hours to get every fill, every snare hit, every cymbal crash sounding the way he wanted and placing them where he desired. I tip my hat to his hard work.

The vocals are killer, and there is no denying that. He has a perfect growl to compliment the music at hand. He’s still legible, which is actually an important trait in metal, despite the kind of vocals required for some styles.

One thing that makes this album much less unbearable in terms of running time is the fact that most tracks run together. Tracks 1-6 all flow seamlessly into one another, making it feel like one large, incredible song. Same with tracks 7-10, so in 10 tracks, it’s like listening to two epic brutal death songs. For some people, it might not be good enough, because at the end of the day, it’s still 73 minutes of endless brutality. For me, though, it makes Anosognosic Industry Of The I that much more enjoyable.

The three-piece of “Orgasmic Fetid Breath”, “Love, Death Betrothed”, and “Immobile”, contains some of my favourite sections in the album. The speed is most evident in the middle track, and contains one of my favourite main riffs (and that one at around the 3-minute mark). “Shadowless” also shows us the clean vocal style, and the more melodic songwriting ability, of Vladimir. This apparently has connections to one of his other projects, but since I’m not too familiar with Mirrorthrone or Unholy Matrimony, I won’t comment further on it. But, honestly, Anosognosic Industry Of The I is a journey, and while it may be treacherous and time-consuming, it’s ultimately rewarding. You’ll find yourself taking the journey again and again.

Best tracks: Totalitarian Grievance, Der Tanz Der Toten, Love, Death’s Betrothed, Immobile