Released: 2013, Non Serviam Records
Reviewer: Metal-Rules.com UK Team
This is the first full length offering from Death Tyrant, Opus De Tyranis, since their EP in 2010. Opening up with distorted church bells and gradually building up to a crescendo of bloody curdling vocals from Daniel Bornstand coveted by a myriad of blasts beats and searing riffs.
There’s a twisted sense of pleasure that oozes from the sound Death Tyrant is producing, as though the story being told involved some sort of bloody revenge on an enemy.
Drum fills here and there, that to an untrained ear would go unnoticed, breaks up the relentless bashing away that keeps you on your toes and perfectly complements the melodic guitar riffs.
Second track Pandemonium is an absolute whirlwind of superb… everything. It feels all too brief a ride but a bloody enjoyable one nonetheless! The next offering on the album starts off a little gentler but seems to be following on from its predecessor in terms of melodic structure; is this intentional or are Death Tyrant starting to slip in terms of creativity? Nonetheless, Ixion is a truly evil track- Daniel is absolutely superb in mixing up his vocal offerings, the drum riffs and fills are gloriously colourful and the smatterings of melody that sing out from the guitars are a treat.
Baphomet wastes no time in attempting to melt your face off but soon eases off to present what I can only describe as an epic and slightly angelic guitar solo. It soon jumps back to the face- melting attempts though. Joakimm Antonsonn bludgeons those drums as if he has been whacking everything he could since birth; he is a true maestro. Brother Dennis and lead Guitarist Thomas Backelin do not fail to impress with their axe wielding skills either. However, I can’t help but feel as though I have heard the same riffs, thereabouts, pop up a little too often.
By the time I reach The End (name of the track, not the actual end of the album), I am hopeful that this one will be the one to break the slight repetition I’m starting to feel from the previous tracks as it starts with an altogether more delicate feel, but once the track gets into full swing I feel a little disappointed as I’m starting to hear familiarities, particularly in the choice of guitar riffs. The drumming, however, is what has been continually adventurous and has been the instrument to give each song a unique vibe, funnily enough.
Impending Day of Wrath is a little on the weak side, feeling somewhat watered down in terms of blackness. I’m starting to be able to predict when each song will break down and build back up again. Once again, the drum techniques used impress and keep my ears happy, as well as the vocal skills. There is also a little surprise in the shape of something of a bass guitar solo followed by a marching band- type of drumming accompanying an inspiring sample of some sort of speech (must find out what it’s from) which in my opinion saves the song from being a little on the dreary side. And at nearly seven minutes long, it was starting to feel as though it was going to drag.
They soon redeem themselves by throwing in an impromptu blast beat.
Tenebrae opens up in an altogether promising fashion although as I head to the end of the album, I’m growing a bit tiresome of hearing the same riffs appear on nearly every track. This one is not an exception. A Greater Alliance features hints of more experimental melodies from the guitars, which is refreshing, and the vocals snap and bite away at my ears in a staccato fashion, nicely blended with more drawn out and dread inducing moments where you can hear every word clearly spat out with a sense of hatred.
To finish off the album is Wrath And Disgust. From the outset by head is bobbing because of the bouncy rhythm conjured up by the drums and guitars combined. This brotherly alliance (not forgetting the main axeman, Thomas Backelin) really works well; you can tell they have jammed together as youths and it has created a relationship of pure musical alliance, whereby they complement each other perfectly.
As an album, there is clearly a conceptual type of theme but it translates as sounding slightly repetitive. However, I would not say this is exactly boring; yes I got a little bored of hearing the same riffs but, in all honesty it helps to keep the album fused together so that you could happily have it on in the background whilst getting on with other things.
There are moments of distraction, the drummer and his inventive skills being the main culprit, but this just keeps the album alive and from sinking too far into the background.
Overall, I really enjoyed it and, in an attempt to ignore my personal tastes, would probably give it just half a mark off of a perfect score. However, my personal tastes take over, resulting in my final score. Excellent effort from a supremely fine band.
Review by Soozi Q