The Mysterious Ways of Repetitive Art

While the first Chapel Of Disease album Summoning Black Gods was an obvious old school death metal effort that fared decently, their follow up to that took a sharp left-turn. The Mysterious Ways Of Repetitive Art retained that death metal base while erecting a misty, cloudy, doom/death affair. Despite preferring the more stripped-down style myself, this was a huge step-up, as the songs offer much more to gain and hold loads of mass.

It quickly becomes clear that the songs themselves are fewer in numbers in exchange for more elaboration in structure, seeing it clocks in around fifty minutes. “The Mysterious Ways…” is an instrumental meant to give an idea as to where everything is headed, which is a suspenseful build to a monstrous ocean of riffs. It’s served with a backbone of slamming drum kicks, before slowing down and allowing a windy chill to segue into the next song. The longer song lengths may appear scary; doom/death tends to commit the crime of overstaying its welcome. That simply isn’t the case here since the innovative ideas require the space.

“Masquerade In Red” actually starts on a much faster note and is carried by tremolo-picks and speed, before coming to a simmer. Acoustic guitars then take precedence and unload melody on top. What’s surprising is how well this molds with the harsher and echo-tinted vocals. I chalk that up to Chapel Of Disease’s stellar ability to weave the passages together without forcing anything. One of the shortest songs “Life Is But A Burning Being” drops off into a wavy mess of high notes, bridging into an atmospheric climb to a beat-down of speed and aggression.

Moreover, injecting emotions into this dark entity is pulled off incredibly. “Lord Of All Death” is one of the longest songs, but it has a bouncy, prog-like section that leads into weeping guitar noodles. Like a large star, the instrumental density then collapses in on itself and pushes out one of the heaviest riff sequences on the album. Suspense is obviously a key factor to The Mysterious Ways Of Repetitive Art. If it isn’t clear enough there, then the ten-minute epic “…Of Repetitive Art” will close off the job by showcasing it heavily in the song’s intro.

What I love most about this is that it doesn’t follow any typical formulas, just allows each influence to drop in little by little. Despite leaning towards doom/death, it isn’t all slow and trudging; rather, it invokes extreme blasts, proggy rhythms, and melodic licks. I’m almost certain that “Symbolic Realms” dials in direct Black Sabbath influence. No words that I type can do this disc justice, so I suggest those who haven’t listened to get cracking!

Originally written for Indy Metal Vault

It feels like yesterday, when I first heard Chapel of Disease back in 2012, when they unleashed split with Lifeless first. And then "Summoning Black Gods" blew me away. Chapel quickly became one of my favourite new death metal bands and I was so looking forward for their next albums. Finally "The Mysterious Ways of Repetitive Art". At first I wasn’t so sure what should I think about this record, it wasn’t an instant winner. But when it finally clicked... oh man, it absolutely won my support.

And what can I say... "The Mysterious Ways of Repetitive Art" is an absolutely fantastic and fascinating album. It's one of those records, which do not let you walk away, but demands your focus and attention to every sound and details it brings. And it's a fascinating and very impressive take on the old school death metal, as along the traditional characteristics of the genre, Chapel of Disease was not afraid to come up with some other influences as well, which come from either thrash and even heavy metal, what in the end gives a spectacular, slightly progressive death metal \album. I think that in some aspects "The Mysterious Ways of Repetitive Art" reminds me what bands such as Tribulation or Horrendous started doing on their second albums. They're all quite different stylistically, of course, but definitely they share the passion for creating something original in the old school death metal niche, with unique song structures, arrangements, riffs, as well as need for bringing some astonishing harmonies that make their music so memorable and impressive at the same time. Brutality or aggression has secondary role here, it's more important to create the dark atmosphere. As such, I think that "The Mysterious Ways of Repetitive Art" is an absolute success.

It's almost impossible to even compare this album to "Summoning Black Gods". Chapel of Disease did an enormous step forward, but also walked away from many aspects, which made their debut so good as an old school death metal record. As such, it can feel like a different band, almost. So, if you like this vicious, aggressive, nasty harsh death metal from the debut and you're quite narrow minded in this aspect, there's a chance that "The Mysterious Ways of Repetitive Art" will not speak to you. On this album Chapel just sounds different, even if they kept some characteristics from the debut untouched (like their fascination for the old gothic horror novels). But the songwriting here is in different league. Such a fantastic riffing, so many impressive arrangements, melodies, which give me goose skin... "The Mysterious Ways of Repetitive Art" sounds special from the very first second. I love how they play with song structures, that it's not your typical death metal anymore, but in some ways it reminds me bands such as old Metallica! Yes! And I mean, not only they have these great instrumental passages, but there are even some riffs, which are clearly influenced by classic thrash and even heavy metal. Of course, here it sounds much darker, harsher, more aggressive. But the influence is obvious, in my opinion. And this is just wonderful how these two different genres can be glued into old school death metal. Take such "Symbolic Realms" as one of the examples for what I have just written. What an excellent song full of classic metal playing. On the other hand, there's "...of Repetitive Art", which has killer eerie, horroresque melodies, which remind me Tribulation for instance. But even the opening instrumental piece “The Mysterious Ways...” sounds bloody awesome here, everything is just right and the balance between all characteristics of this album is perfect. Which is why this record is such a good listen and doesn’t bore even if I play it for the tenth time in a row. And I did that more than few times, you know?

So, as you can see Chapel of Disease is not your common death metal band, but something way more special. And "The Mysterious Ways of Repetitive Art" is a special and unique album, full of excellent songwriting, performance and with amazing, dark atmosphere. Check out also the visual side of the record, especially that huge booklet, where every song has its own artwork based on the lyrics. And yes, these lyrics are inspired by some old novels such as "Melmoth the Wanderer", which is something I like a lot as well. For me, this is probably the best release from F.D.A. Records.

Standout tracks: “Masquerade in Red”, "Symbolic Realms", "...of Repetitive Art"
Verdict: 93/100

Chapel of Disease originate from my fatherland and that's no surprise, because their band name could be taken as a synonym for "Germany". At the present time, there are a lot of sick tendencies in my home country, but one better doesn't say a word. The self-righteous preachers of sickness seem to be on a more or less religious mission and any form of criticism is seen as blasphemy. This makes it all the more important to listen to some blasphemous full-lengths from time to time (although this doesn't solve any social problems). Chapel of Disease have published an album that does not lack of depth, complexity and evil. Furthermore, the band avoids any form of slavish imitation. Admittedly, some morbid tones remind me - you guessed it when reading the term "morbid" - of Hellhammer and the beginning of "The Dreaming of the Flame" would blend seamlessly with a certain number of Grave or Dismember pieces. But the track turns quickly into a more complex attack with some fine elements. Inter alia, I like its spooky break that delivers weird guitar tones from the crypt. Overall, it can be noticed that the sinister horde from Cologne is looking for its own way through the waste lands of terror and this is the first thing which can be registered on the positive side of the balance sheet.

The name of the here presented output boggles the mind, because the four-piece is definitely not interested in a high level of repetition. For example, the title track is split in two parts which frame the remaining five pieces. Both parts rely on gloomy lines, but this is no reason to dismiss these tunes or the entire output as repetitive. The opener and the closer only demonstrate their solidarity and nobody can blame the band for this way of proceeding. By the way, part two ("...of Repetitive Art") does not lack of individuality, although it picks up the configuration - calm beginning, furious continuation - of part one. Due to the closer's duration of ten minutes, there is enough room to develop an own identity. Some sequences sound like a black metal version of Bolt Thrower in view of the fundamental density of the song, but the integration of rather fragile guitar lines add a further flavour that has nothing to do with the British death metal legend. No doubt. the opener and the closer complement each other very well with regard to the fact that they spread the same uncanny atmosphere. "The Mysterious Ways..." is a little bit more dynamic in view of its ingenious flow and the piercing guitar that appears for the first time at 2:55. Nevertheless, "...of Repetitive Art" strikes back due to its heaviness and the ominous riffing during the outro.

An important feature shimmers through both parts of the title track and through the remaining songs as well. Chapel of Disease reveal a fine sense for musicality. They have the skills to maltreat their instruments in a berserk manner, but their artistic ambition demands them to strive for a higher degree of flexibility. This is neither a typical death metal output nor a conventional black metal work. All songs develop their scent on the fundament of the more or less immaculate production that combines vehemence with clarity in an awesome manner. This does not mean that each and every piece reaches the highest degree of quality. "Consistent" is not the word that comes to my mind when thinking of the pattern of "Masquerade in Red", although its constantly growing end is impressive. The Black Sabbath vibes at the beginning of "Symbolic Realms", to give you another example, are okay, no more, no less. By contrast, "Lord of All Death" profits from a highly interesting pattern. Moreover, it grows with every new round. Its unpredictable development opens the gates to dark dimensions and a nightmarish journey begins. I promise that it happens a lot during this 8,5 minutes, but the density of musical events is not at the expense of accessibility. This song, as well as the majority of the further tracks, thrives on its instrumental sequences. The hoarse and raw vocals do not suffer from major deficiencies, but first and foremost, the guitars shape the appearance of this album. By the way, I am speaking of the heavy guitars as well as of some soft, very atmospheric intermezzos. Long story short, Chapel of Disease are on the way to the VIP area of sinister, fairly extreme metal.

Now here's a death metal album that hits most of the sweet spots. Germany's Chapel of Disease have created a sophomore album that reeks of good old (school) death metal, but spicing it with their own blend of ingredients.

The first thing to note is the production, which is clear and heavy, with no instrument hogging the limelight, each instrument given the space it needs. It's still tight-sounding, however. The vocals, which occasionally sound like a slightly deeper Leprosy-era Chuck Schuldiner, command attention but haven't been pushed to the forefront; they become another instrument in the wall of sound that is the somewhat quirky, but very enjoyable The Mysterious Ways of Repetitive Art (to get the title out of the way, nowhere does this feel like an album of repetitive art; each song has its own hooks, atmospheric elements, riffs and melodies. At first listen this may sound like yet another death rattle from the depths but give it time, and it will most likely grow on you too.

What I didn't catch at first was just how many esoteric choices the band makes in their compositions. Where the debut album, Summoning Black Gods, was more of a straightforward worship of old school US death metal, the band has found its identity here, particularly in the way they seamlessly incorporate almost folk-like melodies in the calm sections; but some of these same kind of melodies also appear as part of tremolo picked riffs, giving the band a slightly blackened edge in a song like the rather excellent "Lord of All Death". The same song also proceeds to turn into something closer to mid-eighties speed metal for the last minutes of its duration, complete with classic soloing and riffing. It's fun, and shows a band that doesn't feel the need to stay within the confines of their genre.

Other influences also spill over into the groundwork of death metal; the opening of "Symbolic Realms" veers into Black Sabbath territory (those opening riffs would not be misplaced on an early Sabbath LP). In the same song we get some tasteful keyboards adding atmosphere (don't worry, they are used very sparingly throughout the record), a section that could have been part of an epic, classic Metallica instrumental (if only..) and so much more - all within one track. Did I mention that the same song also has a part that riff-and solo-wise could have been on an early Kreator or Megadeth album?

Not all songs are as adventurous ("The Dreaming of the Flame" might be the most typical death number cut), but the overall impression of the album is a band that's playing with formulas, with songs that incorporate elements from some of the best subgenres of metal. It is a fresher, hungrier band on this second album and the vibe I'm getting is that the next one (if there'll be a next one) is going to blow us away. There's a lot of contrast despite the authoritative sound, and the more I've listened to The Mysterious Ways of Repetitive Art, the more I've grown to enjoy it.

If I had to compare it to something, I'd probably say Execration (Norway), and in particular their fantastic 2014 album, Morbid Dimensions. The vocals are often similar, the tendency to incorporate elements from seventies hard rock / metal is clear and present in both bands, and both bands seem to work from the same core of musical ideas.

I'd hesitate to call this album progressive, as I don't feel it's as complex as truly progressive music often is: Rather, it's a great blend, performed with the necessary ability without ever feeling like a band wanting to show off. Overall, they've made a great impression on this listener, and it's a band I definitely am going to follow.

The band's awesome old school logo is sadly not featured on an album cover that I find represents the music rather well. It's a bit mystical, enigmatic if you will, but the reaper's there to tell you that at its heart it's still a heavy slab of death metal. The weakest link is the opening track "The Mysterious Ways...", which doesn't really convey what the rest of the album is going to be about (it sounds too upbeat - don't get me wrong, it's a fun enough track, it just doesn't quite gel with the remainder of the songs which all flow into each other rather excellently), while the strongest link could be any of the other songs. Right now "Lord of All Death" is the favorite, but as with all great albums that need some spins to fully unfurl its blackened wings, that may change many times.

Review originally published at www.teethofthedivine.com by E.Thomas

There are a few similarities between death metal acts Chapel of Disease and Deserted Fear; both German, both of FDA Rekotz, both released solid debuts in 2013 and both recently released their second efforts. The only slight difference is the style of death metal each band plays. While Deserted Fear had a little more modern, chunky thrashing vibe on their sophomore effort, Kingdom of Worms, Chapel of Disease as with their debut, Summoning Black Gods continues their more musty old school Death/Pestilence/Morgoth inspired take on death metal, albeit with a little more expansive, experimental hue sneaking in here and there.

While retaining the aura of the old school, those familiar with stylistic shifts by the likes of Tribulation, Stench, Morbus Chron, and Usurpress might recognize the shift into more off kilter territory. Now don’t get me wrong, this is far from a full Tribulation-like paradigm shift as Chapel of Disease is still ripe with dusty old school riffs, simple percussion and echo-y distant throaty shouts, but the subtle shift in the structures of the songs are a little more twisty yet rocking and unpredictable and solo laden. Look to third track “Masquerade in Red” to hear the band’s more creative varied delivery of old school death metal complete with acoustic bridges and rank Execration/Autopsy-ish crawls.

While the band employed slightly longer songs on their debut, that has even been tweaked as evidenced by the presence of 8 minute standout “Lord of All Death” which rarely settles into any sort of pace over its convoluted but deft and interesting delivery (including a rollicking, rock n roll final 3 minutes which carries over to the sultry southern rock inspired start of “Symbolic Realms”) and 10 plus minute closer “…Of Repetitive Art”. This beast lopes and staggers with undead determination and shifty, doom crawls, again imbuing Autospy with an LSD spiked miasma.

Fear not though, as the band can still bear down and knock out some good ol’ fashioned death metal as heard on “The Dreaming of the Flame” or “Life is But a Burning Being” (even with its psychedelic interlude). However, Chapel of Disease have entered into a more creative, experimental phase with their second album and it shows some real promise and development from the now saturated Asphyx/Death/Pestilence worship that is now pretty common place.

Great album covers is always a major attraction for me, and are an equally good source of attraction for death and black metal bands who crave sounds of occult, doomed subterranean antiquity, but it's a shame half of the albums with great visual distinction merely gloss over the allure of their content. Chapel of Disease's 2012 debut ''Summoning Black Gods'' was fun exercise in old school death metal which went by the trajectory of Death, Pestilence, Sinister and some Autopsy, but was no real highlight in a year already stocked with excellent, creepy death metal offerings that ranged from Necrovation to Putrevore. It's a shame that most bands don't catch the gist of it in the first place. So you can bet I was a tad morose that the new album by the Germans wasn't much of a switch in color palettes, or equally ludicrous as the album title, but merely a minor readjustment of settings that prompts something of psychedelic 70's feel into lurching old school death metal monotony.

Well, it isn't necessarily a monotony, because the Germans still do fairly good job at keeping some constancy and excitement throughout songs which go on for 6+ minutes, with death/thrashing mania and accessibly searing guitar tones reaching back to early Pestilence. There's no denying that a sizable portion of this record dials all the way back to 1988, taking a huge slice of ''Malleus Maleficarum'' alongside it, with the rest channeling 1989-1993 at random and scraping off the 'old school' off everything from ''Human'' era Death, early Demolition Hammer to Morbid Angel, and this was one record which I felt the thrash was expressively more dominant than the death influence, particularly the fluid and blistering track ''Life is But a Burning Being'' which basically sounds like what Morbid Saint would have recorded on ''A Spectrum of Death'' if they'd been living under a stronger Teutonic influence with perhaps a dosage of Pink Floyd. Seriously, if there is any major step forward here from the debut, it's the odd psychedelia and melodic sentimentality interposed between the harsh, abrogating speed/thrash barrage and standardized old school death metal tremolos. There is a strong death/doom feel to the album that reverberates quite strongly as well, but while it makes for some good atmosphere the slower sections didn't always gel with the frantic death/thrash incursions. Despite that, the vocals, great as before, bark out like hell hounds in the night, leaving you dazed with a devilish take on Martin van Drunnen's legendary inflection.

The record is almost in conjunction with Horrendous' latest, ''Ecdysis'', which was a tour de force in the school of skin shedding and revitalization, albeit to a much larger degree than this one. The Germans are also embracing a veritable appreciation for oriental melodies, lead riffs and arbitrarily placed acoustic guitar sequences, which, though still inchoate, suggest a nice structural change which should be even more pronounced on their third record. The ending track ''... of Repetitive Art'' is a ripping wall of semi-technical thrash riffs with haunting intro put in front of it, and resonates surprisingly well for 10-minute monster. Again, aside from certain sequences, this album didn't made me raise my eyebrows. The drudging ''The Mysterious Ways...'' was all too boring and could as well have been replaced by an ambient sound of occult magicians high on some demoniac drug for all I care. So forget all that I said about good album covers and bad music. This is definitely a great album cover, and the music is solid, too. Maybe lacking in the visceral or aural pomp which I would seek for in 21st century old school death metal revival scheme perhaps, but nonetheless a highly listenable effort that could burgeon into something far more enthralling in the future.

Highlights:
Symbolic Realms
Life is But A Burning Life
The Dreaming of the Flame

http://laceratedthrashmetal.blogspot.com/

The new album from German death metal group Chapel of Disease is certainly an interesting one. While carrying the death metal sound their name would suggest, they smoothly combine it with elements of thrash and seventies rock to create a sound that certainly rips, but without ripping off the classics.

The album opens with an instrumental, a slow menacing riff kicking off the album before punchy drumming barrels forth and high pitched tremolo picked guitars and wah heavy leads come in over the top to give it an occult hard rocking sound, before fading out into the first track proper The Dreaming of the Flame. A filthy death metal sound with a mix of slow dirty chugged riffs and faster tremolo picked thrashy attacks is matched by mostly mid paced drumming, snapping and punching it’s way along throughout, blasting occasionally for greater effect. The vocals are deep, ugly and buried ominously in the mix, but the warm sound of the 70’s inspired lead guitar gives the music a great occult sound throughout. The combination of the dirty evil metal aesthetic and the warm leads and production is different, and certainly enjoyable.

The lead guitar across the album is really interesting and varied, from the fast thrashy shredding,70’s style melodic solos, the wah fuelled extravagances and even the classical guitar on Masquerade in Red, it’s certainily impressive. The occult nature of their sound is no more pronounced than on Symbolic Realms, the intro to which has a warm psychedelic retro-vibe to rival any of the bands playing that style of music, with those power chord based riffs and eerie leads, before ripping into a barrage of fast thrashy riffs, shredding solos and sick screams. The pick of the bunch though is the eight minute Lord of all Death, a chaotic thrashier piece at first, before breaking out into hard rock style chugged riffs and leads. The way the track transitions between brilliant death metal and hard rock brilliance is great, thanks to the barrelling drums and stunning leads throughout.

It’s a really impressive album from the German four piece, a unique sounding death metal album which shows great creativity as well as great talent. Already billed on several German festivals this summer, if they keep releasing stuff as good as this, there’s no reason Chapel of Disease shouldn’t be blowing up on the scene in a big way soon.

Originally written for swirlsofnoise.com