Dirges of Elysium

It's rare for well-deserved names to be able to speed up the pace of new albums, but it just so happens that Incantation does not disappoint in this respect as well. After six years of waiting for "Vanquish In Vengeance" release, his successor, "Dirges Of Elysium", was released only two years later and managed to maintain the previous, very high level. Well, something similar was already in the case of, for example, "Decimate Christendom" and "Primordial Domination", but here the power is much greater.

This time, the music of Incantation is dominated by doom, atmosphere and generally slowness. Hence the first surprise in plus, because on "Dirges..." the doom metal fragments do not silt up in such (large) numbers, add an underground charm and show the creativity of the group. Just take a closer look at "From A Glaciate Womb" (with a awesome, expressive ending), "Carrion Prophecy" or "Charnel Grounds". Of course, on "Dirges..." there are also faster songs like "Impalement Of Divinity", "Debauchery" or "Bastion Of A Plagued Soul", but it must be admitted that the slow, doom ones make a better impression and show in them more ease. And it's also interesting because the production has not changed drastically. Despite its too sterile sound, the rottness emanating from the guitars and John's low growl match quite well with this modern sound.

I have reservations only about - paradoxically - the biggest gem of "Dirges Of Elysium", about the album ending "Elysium (Eternity Is Nigh)", a younger friend of "Legion Of Dis" from the previous lp, the volume of which (over 16 minutes) seems to be a little bit unfortunately overdone. It has the impression...as if the band did not know exactly in which direction to go along such a long composition! The individual motifs on average overlap (generally they are not sensational), and their successive expansions seem to be carried out in a rather laborious way (usually extending individual sounds), just to stretch the album to a larger size.

As a whole, "Dirges Of Elysium" is brilliant. Taking the music down a notch, the Americans knew how to keep their music interesting, and at the same time how to do it in classic death metal standards. Even in spite of minor stumbles in the tip.

Originally on: https://subiektywnymetal.blogspot.com/2021/10/incantation-dirges-of-elysium-2014.html

It is by no means an exaggeration to say that Incantation is perhaps one of the most, if not the most imitated death metal bands. Taking on the voluminous and dissonant death metal mould forged by the originator in question, these ‘clones’ in the view of many made a once unique sound a cliché, or rather a commonplace mode of action in extreme music. However, it would be simplifying things by spewing the usual proclamation that the originator does it better than the bands that took inspiration from it. This would be selling short the bands themselves, who aren’t all entirely derivative and aren’t simply shameless knock-offs, and perform with a certain conviction in the same stylistic mould in a rather compelling manner. On the other hand, Incantation, much like their peers in Immolation, has settled into a comfort zone of sorts since the dawn of the new millennium.

Much of the band’s material in the new millennium have been more palatable offerings relative to their classic catalogue, which provided scope for surprise and unpredictability. ‘Dirges of Elysium’ is not different in this sense. The soaring polyrhythms that eternalized ‘Onwards to Golgotha’ are present, while the overall ambience is evocative of a more doom-laden ‘Diabolical Conquest’. Riff motifs exhibit an acceleration of quick-moving tremolo strumming which create a tension of sorts, ominous in their choice of notes. As in most Incantation material, there is a sense of cadence when we isolate these riff ideas, yet when used in intervals with perpetuating regularity defy the concept of traditional song-structures and instead work together as phrasings that invoke a sense of primal chaos in a scarily mechanical manner. Incantation’s brand of death metal is very unique in this sense due to its amalgamation of both complex and basal techniques. The juxtaposition of doomy trudging, which are especially found in abundance on songs like ‘Carrion Prophecy’ or ‘Elysium (Eternity is Nigh)’ and the percussively played, layered tremolo phrases which create a uniquely commodious and weighty texture results in the band rarely pursuing a singular direction or motion. While never veering away from the larger tenor, song-structures also present a collection of related moods. This also certainly distinguishes Incantation from the rest of its death metal brethren, being aesthetically far removed from the genre’s speed metal origins.

The guitar tone alone sounds very crisp, and for lack of a better word, the crunchiest it has ever sounded , which could be attributed to the modern production values and gear. If one is to be fastidious, the counterpoint between the leads and the tremolo riffing is less pronounced due to this, as opposed to the classic Incantation records where the rhythmic base was rumbling and cavernous. ‘Debauchery’ and ‘Impalement of Divinity’ serve as testament to this aforesaid tonal quality, a phenomenon which I think has also affected the latest Autopsy records. This doesn’t automatically change the nature of the record, though – this is certainly a band that still treads the path of the atmospheric and kinetic rather than being merely syncopation-driven and impact-oriented. Of course, the pinch harmonics we all love make their presence felt on tracks like ‘Portal Consecration’ and ‘Dominant Ethos’. The low-end howls of McEntee reverberate atop the riffs in a most gratifying manner as usual, and much like the vocals, Severn’s drumming appeases, yet essentially serves its function rather than being particularly enrapturing.

My concluding note harkens back to my introduction, which spoke about the band settling into a stylistic comfort zone. To clarify my stance, this is a phenomenon that affects almost all death metal veterans that have sacrificed constant innovation (which in itself is practically impossible) for lack of deviation and cohesiveness. A band as revolutionary and influential as Incantation can afford to do that. Fans would rather have a band pursuing the modus operandi they established for themselves with certitude rather than engaging in futile experiments, needless to say. It’s all still as enjoyable, although the menace brought forth by the band is something to revel in rather than something to be genuinely taken aback by, given that their prolific oeuvre has already broken whatever ground that could be broken in this template.

Even though it seems like a very short record, based on the lengths of most of the songs, Incantation in a way cut some corners and shortened them because of... creative reasons? With a prelude, you have six songs that range between two to four minutes, one seven-minute traditional/doom song, and the closing 16-minute song which takes third of the record’s portion. I’m not sure why the band would proceed with such an approach, but I hope this sacrifice of sort doesn’t take away from the quality; the quality which was in Vanquished in Vengeance. I know in the last few records I’ve had my complaints regarding how the band stretches the lengths of some songs to “achieve” a purpose with the outros, but I also stated the shorter ones the band recorded have plenty to offer. However, I do question the creative reason behind having eight out of ten tracks around two to four minutes. Speaking of which, those tracks are at a combined 25 minutes, which is about half of the record’s total length. For 49 minutes, that’s still a bold move.

Jumping right ahead to the eight short tracks, the record starts with quite the atmosphere, with the prelude title track. It’s a pretty good prelude compared to others the band recorded. As for the songs, you can already hear from Debauchery that the production changed a little. Perhaps it’s too clean, which draws out that aggression you sensed in Vanquished in Vengeance, but we’re off to a good start. The song features two guitar solos, along with great riff progression and neat drumming. Then you get something like the following song, starting off aggressively with the deeper death growls, heavy riffs, and blast beats, ending with fast melodic riffs. To more riff-orientated songs (in the sense of pitch harmonics and maybe even a bit of unpredictability), Portal Consecration has these fine slow riffs to it, in the choruses. The drums and bass fantastically follow to help the atmosphere. For a short song (the shortest rather), Charnel Grounds has you covered in the landscapes of doom metal. The riffs and vocals are simply top notch on that song, arguably putting its longer counterparts (the death/doom songs) in shambles.

As for the longer songs, From a Glaciate Womb starts slow but gradually builds up to the traditional sound that makes it death/doom. Great focus on atmosphere, the guitars sound outstanding until around 1:50, when it becomes heavier. The outro is one of the best, with pure anger and devastation. It’s just too bad the traditional elements are not as strong as the doom elements. It’s a bit dull and lacks this elevated rage the band developed recently. Overall, being decent, I wish the doom parts on it didn’t become overshadowed. In Elysium (Eternity is Nigh)‘s case, although it’s got some traditional elements and is about twice as long, it wasn’t repetitive. It’s separated into six sections:

I. Prologue (Mullenium Is Elysium)
II. Lethe (Forgetfulness)
III. Acheron (Sorrow)
IV. Styx (Hate)
V. Phlegeton (Fire)
VI. Cocytus (Lamentation)

This 16-minute piece starts with a slow and heavy intro until entering a section of bass, drums, and vocals, with the guitars essentially adding more to the atmosphere. On top of that build up, the song transitions to some nice bits of heavier guitar tones. Four minutes in and it becomes a little slower and heavy, but then at 7:00 the band picks up the pace, with a bursting guitar solo. Keeping that in mind for about a minute, our guitarists unleash nice distorted leads. A similar form returns at 10:30, transitioning back to the atmosphere. Finally, the outro has the same good guitar distortions thrown around, as the song builds some speed towards the end.

Dirges of Elysium is not the best successor I’ve heard, and I hope it’s not a sign of decline. The short-length variety seemed a bit out of place, as they take a lot in quantity. Separating the record into two pieces, both pieces’ beginning were very well done, but the rest in the lineup weren’t continuing that great vibe. With the death/doom songs in question, they were lacking some... uniqueness, the kind of longevity that could make up for the whole listen of this record. The band had their pros and cons with longer material, but something like 16 minutes, once is enough. The best songs are Debauchery, Portal Consecration, and Charnel Grounds.

John McEntee and his band of not so merry men return once more to lay waste to your surroundings with another shadowy blast of occult death metal, filled to the brim with blasphemy and darkness. Although this is studio album number ten, they show no waning of their appetite to bring the noxious extremity to your door, in fact the strength of the material on offer puts this album amongst their best in my opinion. For me, ‘Vanquish in Vengeance’ saw the Incantation crew return to form, and ‘Dirges of Elysium’ merely carries on where that monsterpiece left off.

The album opens with the title track ‘Dirges of Elysium’, crawling with a creepy unwholesome nature which sticks like napalm. The slow burning melody seeping like corrosive vomit from your speakers, before segueing into ‘Debauchery’ which suddenly picks up the pace, flowing like black lava, inexorably destroying everything in its path. McEntee’s devilish low growls loom menacingly in and out of the array of pounding riffs, ever present drum attack and roaming bass work, like a demon in a parapet spitting forth venomous diatribes against Christianity. The riffs are fatter, filthier and sparkling with incandescent rage this time around, whether they be trudging doomily (‘Carrion Prophecy’), or revved up to out of control freight train speed (‘Impalement of Divinity’), they just seem that much more grimy and most importantly – catchy. I can even catch touches of modern day Autopsy in their doomier moments, particularly with the usage of slowly drawn out melodies which isn’t a bad thing at all in my book. Album closer ‘Elysium (Eternity is Nigh)’ shows Incantation at their very finest, combining all of their best elements into a song that wouldn’t sound out of place at any black mass, replete with pick squeals and threateningly monolithic riffage which builds into a perfect storm. A truly great album closer that is up there with the likes of Morbid Angel’s ‘God of Emptiness’ in my opinion.

For me, in terms of quality – this is their best album since ‘Diabolical Conquest’. Everything just seems to be that much more focused this time around. The likes of 2002’s ‘Blasphemy’ and 2004’s‘Decimate Christendom’ had noticeable dips in quality, even a few moments of filler – ‘Dirges of Elysium’ is made of sterner stuff, seeing Incantation rise from the mire once more to possess another slew of souls with their siren-like charms. Evil, sick and packed with more riff than you’d know what to do with; ‘Dirges of Elysium’ cements Incantation’s lofty position in the annals of death metal lore.

Originally written for www.avenoctum.com

Godless, primal death metal mavens are having a veritable feast of late, with new records from bands like Teitanblood, Autopsy and Dead Congregation; yet I find myself drawn slightly more strongly towards the latest offering from another scene veteran, John McEntee and his fellow lords of gloom, Incantation. Coming off Vanquished in Vengeance in 2012, an incredibly strong re-affirmation record which saw the Pennsylvanians ramp up their production values and songwriting to a marginally more accessible tier, without losing any of what made them so important back in the 90s (even if fans at the time wouldn't know it yet). Enter Dirges of Elysium, a new effort which adheres to the same potent level of sound and variation, only venturing slightly further into the death/doom well which they've always inhabited, and I cannot say I'm disappointed in the least...this is one effective, oppressive, spiritually cumbersome beast which compensates for a lack of innovation with really well-written songs, and largely winning riffs.

That's right, there isn't necessarily a single damned thing on Dirges that you've not encountered before, from either this band, Autopsy or others of their ilk, yet Incantation pull it off remarkably, as if the whole medium were fresh and had just been invented yesterday. Not every individual riffing thread is victorious, perhaps, but the slower tremolo picked sequences feel morbid and cavernous, the downtrodden harmonies enough to churn the clouds and grey the sky, and both the leads and rhythm guitars covering a broader scope of tempos than much of the band's backlog. If this were some brand new head on the chopping block, it might feel entirely too derivative of McEntee's legacy, and yet this is the fucking genuine article, an ablution of sickness, suffering and depravity which takes its sweet time crushing your head. In fact, paired up with its predecessor Vanquished in Vengeance, I'm going to have to say that this has been my favorite epoch of the band since the first two records. They just have that much more of an impact on me as I'm listening...not the most memorable works in their field by a very long shot, but prime examples of seasoned mortuary-craft which possess a metric ton of replay value. Dirges is slower, sure, and that's not always my thing, but I was rarely bored here (perhaps in 1-2 songs top). Incantation continues to spew the gene-seed that still runs in the veins of so many of their followers...

McEntee's vocals remain a selling and life-quelling point, rumbling like boulders being shifted about the Underworld to participate in Sisyphean tortures, fully evocative of the darkness beneath that this band has always called home. Rhythm guitars retain that robust flesh, alternately murky and dextrous despite the largely simplistic chord and note progressions the band champions. Bass lines are fitful, creepy and adventurous. Drums: clear but crash-tested. Nothing technical anywhere, but where Incantation succeed and so many others fail is in how perfectly level they can measure off atmosphere against finesse, opacity against clarity, the static and the kinetic, the dying and the fucking dead. I'm not saying these are the sorts of riffs to die for that we'll be recounting for the next 20 years, like the ones we first dug up 20 years ago through the most seminal of works, but this is just a very dependable, believable form of escapism into the subterranean haze. The intro is good, the faster riffs sound evil, and even the more bloated compositions manage not to induce the 'snooze setting' because they feel epic rather than meandering or directionless.

Oh, the grandeur of the gruesome! Dirges of Elysium beats with the same rotten heart that started pumping a quarter century past, and yet the ichor-choked arteries seem to have undergone some refinement. Friendlier, maybe, but in the way it's more congenial to be eaten alive directly than to be toyed with over a long, bloody hunt.

-autothrall
http://www.fromthedustreturned.com