Aborym - Kali Yuga Bizarre review
|Album:||Kali Yuga Bizarre|
|Release date:||April 1999|
01. Wehrmacht Kali Ma
02. Horrenda Peccata Christi
03. Hellraiser [Coil cover]
04. Roma Divina Urbs
05. Darka Mysteria
06. Tantra Bizarra
07. Come Thou Long Expected Jesus
08. Metal Striken Terror Action
09. The First Four Trumpets
It is almost intuitive for one holding an album labeled as Industrial Black Metal to assume that, by spinning the album, a whirlpool of darkness will take place in his head and recreate a post-apocalyptic scenario, with all the good old aspects of science fiction and hopefully, if it's not too much to ask, some unexpected touch of experimentalism.
What Aborym's debut offers us is basically that. It approaches timidly the abstractness that electronic elements can inject on Black Metal to describe the epic tale of destruction. Somehow a wicked mixture of Bal-Sagoth's melodic properties with the relentless multi-layered blasting of Limbonic Art. On the periphery of these two extremes (that in an inconstant way support most of the sound basis), we find the famous electronic experimentalism that gave prominence to the band.
These electronic features are usually pleasantly noisy and heavily distorted, as in "Horrenda Peccata Christi" and "Darka Mysteria," or ambience-builder, causing a welcome subversion of the turbulent onslaught, especially on the superb Coil cover. Unfortunately, the tumultuous oppressive condition of Kali Yuga Bizarre, while almost predominant, is subdued in an irritant way at least three times during its length. Clean vocals and keyboards on "Roma Divina Urbs," along with a short (but immensely contrasting) chorale of children and a priest sermon, and a thrash assault out of nothing, are mood-killers that insist on dragging back to reality the listener who is trying to immerse them self in the wreckage of this future Rome.
Lacking brilliance and consistency, this album manages to provide a fair amount of grotesque insanity, enough to moderately satisfy all the described requirements of listeners who resort to this realm of sound. The ironic attempt of reaching extra-bizarreness by including non-bizarre elements to the music symbolizes the band's good intention, but not even three vocalists (including the great Attila Csihar) can summon enough chaos to prevent the mood-killers and its inconvenience.
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