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| Artwork by Pär Olofsson |
(r) 05/14/2013
My journey with Immolation lay in the online realm. Count me as one of many whom used this iteration in checking out many underground bands. I have followed Immolation since (2002) Unholy Cult. I have a passion to be as involved in what these guys do, and I make no apologies for it.
A great deal of their catalog is as foreboding with messages about humanity, and the overall faith system which is used as a control apparatus. I have felt that Immolation's early records hammer this point succinctly.
Whereas later material straddles more around global designations of control, the narration of peoples blind obedience, intrusive meddling of governmental bodies, and a wistful energy of ignorance pervading throughout the world.
These are dark themes, and the concept more or less brings observation to the broken systems that are bewildering and concerning. Though those are obvious points in what the 'message' is, what brought me into this band is more in their sheer heaviness, as they are the last piece from a period I've grown bored of.
Getting this out of the way the sheer power of Steve Shalaty is impressive. Since Harnessing Ruin I am amazed he can still delineate each part without so much as a skip. I'm pleasantly happy with his performance.
Robert Vigna's soloing has evolved into wild exploration. I've been curious to see what he would do this time with less restrictions in regards to time in the studio, because being an artist myself, one tends to be they're own worst critic. I find his cadence lends itself more on the periphery of sorts with Kingdom Of Conspiracy.
The thing that I've found with Robert's soloing is that the notes won't hit you at first, they'll burrow and then poke out later when one least expects. Something that I've liked about the 'sound' Immolation uses.
Ross Dolan vocals are sharp, clear, and enunciated. I know what I am listening to and can understand the meat and breadth of the words spoken. His bass work somewhat straddles in the front, or will lay entirely in the background.
Rhythm guitars of Bill Taylor, I think of him as the unspoken player whom needs credit with the depth, and punch given with his tonality. Between Robert and Bill the twin attack of the rhythm offsets the muddled production, occasionally I could pick out whom and what, as always is sharp and tight.
The one gripe that I have with Kingdom Of Conspiracy is that it is missing something. This record has a shorter vibe going, and the focus is more on drum power and riffing. The groove is offset this time and is laden heavy with blastbeat execution.
The mix is okay if you like the sound to be tunneled. The intense soundscapes are still prominent, but the mix I feel deludes the performances by the members. With Majesty And Decay, that record I liked because of the subtle distinction between the musicians. This one just has little room for wiggle as it is narrow and feels claustrophobic.
It is not a great way to punctuate their performance, but both Rob and Ross explained that with use of today's technology, mastering, and mixing in a digital mechanism is where a lot of bands have gone.
There will be diehard fans of the old school mechanics, and fans of the newer mix. I totally understand the need to adapt with the times, who wants to be that band whom still uses antiquated stuff, though not a bad thing, I am pointing out the inconsistencies to that effect. After all it is business decision, and bands will elect to do what they feel is the right. For me you kind of have to pick your poison when it comes to current studio production.
Finally, I think this album fits between Harnessing Ruin and Failure For Gods. Both of those records were from my perception processes i.e. trying out new areas, and experimentation. I will continue to listen to this record, and let it sink in a little more. I may change my mind as I often do, in the meantime check it out. Thanks for reading.
B.
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