Gorod - The Perfect Absolution - 2012
Gorod whom hail from France, peaked my curiosity with their webisodes via Youtube for the recording process of The Perfect Absolution. As usual in my usual fair of research, I became fascinated with their presentation. From what I could hear Gorod where taking major cues from classic groups like At The Gates, Death, Obituary, Malevolent Creation, and Incantation. Their brethren like Origin, Pathology, and Cryptopsy accentuate the technical virtuosity, where I've always felt that this new breed lingers in a sameness stasis. I think bands today try distinguishing themselves yet I've found it's a tad more difficult because of the sameness of brute technicality. One has to have a keen ear for the aesthetics, and Gorod give a fresh perspective to the saturated field. Today's bands typically are missing something uniquely their own, in Gorod's case they strike with familiarity, but also giving balance and respect to what has been missing: new blood, new approach.
What drives this record? The mixture of the aforementioned classic bands are a great reference to what has come before. Yet, it also gives the listener a sense of fresh perspective, as sometimes there a twinge of blandness that can bellow without reason. Since I haven't really been acquainted with any of Gorod's material, I had a unbiased aspect, pure curiosity, without pretenses.
The first track The Perfect Absolution is descending into darkness, wavering in a stasis of what is about to embark. Birds Of Sulphur envelops the listener into a blister of cascading notes, and ferocity. Sailing Into the Earth stretches out a little more, but it begins to falter somewhat because of similarity. Elements and Spirit slows down the spastic and connects me to a real place of true passion. I enjoyed the bass work, drumming immensely. As Carved in The Wind shows off the virtuoso guitarist, the main breadth of the presentation in this song gives clarity to the craft. Varangian Paradise gives a nod to the classic 70's funky guitar riffs, which is something unexpected, and I think that is cool. 5000 At The Funeral pushes out the harsh, with a intro quasi mellow piano piece, and shifts into a speedy, and brash texture.
I should clarify I'm not crazy about some of the 'core element as it wavers heavily in a sameness that borders on disinterest for me. The presentation is in the musicianship, and crafting the material around riffage. I felt that it doesn't go beyond its capabilities, but I do think that it accentuates all the various modern metal styles into a strict cohesive result.
The only downside I can give this record, and this goes for Cryptopsy, Origin, Pathology is the overdrives in the hyper guitar modularity. Some of the songs can work well if there isn't a whole lot of crazy intermixed note variances, as I believe it breaks up the cognitive flow. Its where it yanks, and peels away what a song should be. I felt that The Perfect Absolution tries to reinvent the style little bit by stretching out what is expected, and that is okay. I feel that I came into this band at the right time. I am indeed curious to see what they will do next. Thanks for reading.
B.
No comments:
Post a Comment