In Hora Mortis

"You look up because you desire to be exalted, and I look down because I am exalted. Who can, at the same time, laugh and be exalted? He who climbs the highest mountain laughs at all tragedies, real or imaginary." - Zarathustra (pg. 68, "Of Reading and Writing")

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The works of Germany's Zarathustra is known for it's more upbeat tones and enjoyable thrashing riffs that deem itself to be straying away from the traditional filthiness of black metal. Surely a more progressive side like this type of black metal can be executed fairly without going over the top. Enslaved, up to the Eld era, and many of Abigor's older releases are good examples of stable development in crossbreeding musicianship and technique.
"In Hora Mortis" drastically changes into a radical emotive nihility that hungers for the grandest of all oblivion towards the acclaimed "holy man" and his witless creation called religion. Why emotive? The constant trashy choreographed splash cymbal crashes and single strums are comparable to the hardcore band Walls Of Jericho, but this is to be commonly found in Salvation From Being and in, now former member, Desecrator's backing vocals in Towards Perdition. We can all figure that he was featured solely for this reason, yet his presence is both useless upon the first listen, and yet it is slightly profitable to an extent.

For the most part, in "In Hora Mortis" there are no whimpering themes and pussy screams throughout. The lyrical content remains destructive and yearning, but the overall structure seems to have become weakened and marginally romanticized throughout the rapid line-up changes. Zarathustra's peak of excellence firmly reigns from their album "Perpetual Black Force" and the ever-astounding EP "Contempt"; where the composition was less formulaic and more innovative.

There are parts to "In Hora Mortis" that give the impression that the creators were unable to design proper introductions and transitions between songs. The water drip, jingling keys, and underground subway effects strikes me as rushed Resident Evil-like noises. Those parts could have been easily opted out with dragging guitars or something less phony. Zarathustra's inclusive integrity will cling faithfully to cosmic obliteration and humanity's self-degeneration.
In short, I believe that the band found a clear and brutal sound to go by. Inside the skepticism I bear towards "In Hora Mortis," this discreet and dangerous jump doesn't pertain to their more superior black metal roots anymore, yet the assembly remains more melodically catchy and too soft at times, but it is for a reason.. At least I'm hoping...

The exhaustion of this change reminds us that times are becoming quite indifferent within current black metal. Old admirers of Keep Of Kalessin will easily bring the comparisons of "Agen: A Journey Through The Dark" and "Armada" to mind, or even an Enochian Crescent-like production, yet it is more evident alteration when "Dogma Antichrist" is in opposition to "In Hora Mortis". Generally, the modernized introductory build up and fatiguing culmination are phenomenal aspects for the overall message, yet I strongly proclaim that this is the final masterpiece to the legacy of Zarathustra. All of this seems to fit perfectly with Towards Perdition, a powerful operatic self-overcoming of slave morality.

When I hear the lines "Before your horrid throne", I have confidence that their keyboard-less talents aren't sniffing Dimmu Borgir's throne, in following in their footsteps so-to-speak. If anyone is to give true credit for the contributions for "In Hora Mortis," lend your ears and souls to Kerberos on lead guitar and drummer Mersus (Destroyer 666, Homicide (Ger)). Without their portion in this project everything would be insignificant and very tiresome.

Though this mainly effects personal attitude and condoned business, as short as it has been, they've been on MySpace for too long. Zarathustra have sold out to the otiose masses, and, honestly, they don't need that kind of push from a needless exposure site for instantaneous glorification. Aside from gaining public acquaintances and random devotees, mostly every aspect of this release is watered down, less focused, yet boisterously consistent to the point of slight perfection and annoyance.

Apart from Zarathustra's melodramatic alteration, "In Hora Mortis" sustains it's hateful segments and continues to burst out in a rage too great for anybody to comprehend. The astonishing mix of bereavement and mysticism gives this release an added bonus, as it may be the only factor to look forward to.

In my honest opinion and self-experience, let "In Hora Mortis" grow onto you, as the more you listen to it the more it will be understood from a solitary point of view. Lastly, I advise those to read "Also Sprach Zarathustra", (1883-1885), by Friedrich Wilhelm Nietzsche. In doing so beforehand, you may obtain true understanding of my latter reasoning. Without it, I too call it's listeners slackers of philology. That and it is very, very rewarding.

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Zarathustra, you must be unencumbered, now that you have begun to climb the highest mountain. Your serpent and your eagle have parted ways, and so should you. Let this retain and vanquish the infinite struggle, so let this be the end.

"I am the master of decay!"
MUSIC FOR EVERYONE AND FOR NO ONE!!!


Highlights: Souls Ejaculation, Crown Of Creation, Odem


Originally written on October 1st, 2006