Temple of Baal details new album Mysterium

Temple of Baal - Mysterium (2015) cover art

Active since 1998, Parisian black/death metal band Temple of Baal will release their next album on October 2nd, 2015 in CD and 12” vinyl format. The current lineup has performed and participated in many other French metal bands, perhaps the most notable of which would be Anateus. They released the following statement:

PARIS, France – French black/death metal veteran, Temple of Ball, has announced its next album, Mysterium, to be released on October 2 via Agonia Records. The first single, “Divine Scythe,” featuring guest vocals by Georges Balafas (Drowning, Eibon, Decline of The I), is streaming on YouTube at: https://youtu.be/gi2yqmKvUtw.

As the album’s title suggests, Mysterium dwells on the topics of spirituality and religiosity. “From the opener, ‘Lord of Knowledge and Death,’ to the closing number, ‘All in Your Name,’ every inch of this record drips with it,” the band commented. “Mysterium can be seen as a collection of meditations and prayers over the mysteries of faith, directed towards the gods of the left hand path.”

Musically, Temple of Baal’s black metal roots are back in full force, allowing the atmospheres to develop through songs of epic proportions, mostly clocking around eight or nine minutes each. Mysterium covers a wide musical specter, from slower ritualistic parts, to furious blasts and thrashy riffs or the surprisingly melodic choirs of “Magna Gloria Tua” and “Hosanna,” each song taking the listener into a spiritual journey, evolving through various climates, keeping the listener’s mind awake. “I never got that much into monotonous, uniform albums,” said band leader Amduscias. “I like music to take my mind from one point to another. Even if I have a strict view of what Temple of Baal should be, stagnation is not something I’m very fond of.”

Paying tribute to its old school roots, Temple of Baal covers Bathory for the second time, with the song “The Golden Walls of Heaven” closing the vinyl edition as a bonus track.

The recording of Mysterium took place in Hybreed Studios with long-time sound engineer, Andrew Guillotin (Glorior Belli, Mourning Dawn), who managed to capture the band’s trademark massive sounding, magnifying it through a warm and organic production. Cover artwork and layout have been prepared by David Fitt (Aosoth, Secrets of the Moon, Svart Crown) and Maria Yakhnenko.

Mysterium will be available in: six panel digipack CD with 16-page booklet, regular gatefold double black vinyl, and limited to 150 hand-numbered copies double gatefold vinyl (including one picture disc and one black vinyl). It can be pre-ordered now through the Agonia web-store at: https://www.agoniarecords.com/index.php?pos=shop&lang=en.
1. Lord of Knowledge and Death
2. Magna Gloria Tua
3. Divine Scythe
4. Hosanna
5. Dictum Ignis
6. Black Redeeming Flame
7. Holy Art Thou
8. All in Your Name
9. The Golden Walls of Heaven (Bathory Cover, vinyl bonus track)

In its 15-plus year career, marked by four full-lengths and numerous split releases, the highly respected French coven, Temple of Baal, has evolved from a primitive black/thrash outfit into a monstrous black/death metal entity of epic dimensions. Verses of Fire, the last album (2013), was acclaimed worldwide as a milestone in the band’s career, allowing Temple of Baal to perform at notable festivals such as Hellfest, Motocultor, Summer Breeze, Kings of Black Metal and Speyer Grey Mass. The formation also played selected shows in France, Finland, Germany, Switzerland and Austria, sharing the stage with the likes of Watain, Antaeus etc.

Stay tuned for more information on Temple of Baal and Mysterium, out this fall on Agonia Records.

Hate Eternal – Infernus (2015)

Hate Eternal - Infernus (2015)

Hate Eternal hits all the notes they intend to. From a technical stance, there’s really nothing missing – an extremely precise instrumental section provides all the velocity and intricacy you’d expect from this sort of death metal. The production and sound is crystalline in its precision, too; all of the important sound frequencies are accounted for, the instrumentation is clear (although like many metal bands, the bassist drowns), and the vocals of Erik Rutan remain suitably midpitched and intelligible for the album’s 45 minute duration. If you wanted to demonstrate textbook “brutal” death metal to your friends and colleagues, a sample from Infernus would leave them more knowledgable about what to expect from the genre, especially if you drew comparisons to Morbid Angel and other well-appreciated bands in Hate Eternal’s long and storied lineage. It’s a shame, then, that such an archetypal album doesn’t make for good listening.

It all comes down to the arrangements. The major problem with songs on Infernus is that they drone where they should instead develop, to the point that Rutan’s guitar parts even contain droning tremolo notes and chords buzzing under riffs, hiding ashamed at the edge of hearing. Consider the album’s dynamic range; when your recording is this loud and insistent, your ability to emphasize any one section of your song over others suffers. As a result, even when Hate Eternal does pull out a relatively interesting riff pattern (like the outro of “Zealot, Crusader Of War”), it’s likely to pass over without commentary or attention due to listener fatigue. Some might argue that the very death metal stylings of this band justify such a constant aural assault, or that the occasional tempo/rhythm shift or sound gimmick that often performs the role of dynamics in this style creates enough variety, but while such points are worthy of acknowledgement, they don’t exactly help the content.

The other half of the drone problem is that songs on Infernus are remarkably conservative about varying their overall structures. I don’t think I’ve heard a death metal band rely on a basic formula so consistently since… well… Death, which had much the same issue with being unable to change up their own songwriting techniques throughout their career, even as their aesthetics constantly evolved. Hate Eternal I am not so familiar with, but the first half of any given track here is interchangeable with the first half of any other. The latter halves offer more room for anything besides business as usual, but if you play a random track, odds it’s going to start by repeating the verse and chorus twice and going straight into a solo. It’s as if the music is not written, but manufactured to government pop standards on industrial machinery… which, in death metal, usually leads to a dismal and forgettable product and makes you more receptive to the next CD on the assembly line.

So if there were a conspiracy in record labels to increase sales by reducing people’s attachment to music (which I doubt, because it would require enormous folly beyond what we as a species can muster), Infernus would be the perfect product. In reality, it’s just a technically competent but flawed and unambitious offering; it’s not as obnoxious as, for instance, the thinly disguised technical exercise death metal wave of the mid-2000s, or the metalcore bogeyman in your younger sister’s closet. Nothing that would scare me off from the concert of a band I was interested in, but not something I can earnestly recommend seeking out on your own.

Altar / Cartilage split re-issued as 2CD on XTREEM Music


During the heyday of death metal, Swedish band Altar and Finnish band Cartilage banded together to release a split album entitled Ex Oblivione / The Fragile Concept Of Affection . Long sought-after by collectors, it is being re-issued by Xtreem Music as a 2-CD set with other early recordings. The label made the following statement:

It was in 1992 when two promising bands from the swedish & finnish Death Metal scenes, released a split album, that now, 23 years later, it’s one of the most cult splits ever released in the early 90’s. Unfortunately, CARTILAGE never recorded anything after that and although ALTAR did a few demos later on, they disbanded shortly after.

But the legacy still lives here and this split album originally released through former Xtreem Music label Drowned Productions, gets a re-issue in form of a double CD with 7 bonus tracks by each band taken from their early demos, a total of 14 songs (60 min.) from each one.

All songs have been remastered (not remixed!) for an optimal sound, preserving the essence from the originals and this release comes with a new cover artwork, a remake of the original one made by cult finnish artist Turkka Rantanen. Of course, original cover art is included on the release and booklet comes with extra photos, flyers & demo covers to complete this cult re-issue. However, we know that purists won’t be satisfied with this release, so they can always go and pay a fortune on eBay to get the original (if they can). No hard feelings! For the rest, here you have a new chance to get this gem in an improved and extended way at a reasonable price. A vinyl version with the original split album tracks, will follow in the future.

Release date for the ALTAR/CARTILAGE “Split Album” 2-CD is set for August 20th and in the meantime, you can listen to one track by each band on the following links:



Hammerheart Records re-issues At the Gates Gardens of Grief


Hammerheart Records has re-issued the classic of Swedish death metal Gardens of Grief by pioneering progressive death metal band At the Gates. The label issued the following statement:

At the Gates are one of those Swedish bands that doesn’t really need an introduction for anybody really eager enough to dig as deep as their first EP, Gardens of Grief, which was released in 1991 on Dolores Records.

Being one of the more distinct sounding bands from the whole original Swedish death metal scene, they have managed to spit out a couple of really great albums in the 90s, the pinnacle of their career being 1995’s “Slaughter of the Soul”.

What we have here lads is a chaotic mix between great song composition, one of metal’s best vocalists (in my humble opinion) screaming his shit out and pure maniacal death metal the way its supposed to be played. Right from the start of the first track you will get nothing less than a punch in your face, to the groin and to the balls. Tempo changes along with the massive output of riffs used work perfectly to create a unique atmosphere that sends you right to hell. This is one of those birth moments of a band that further defined the typical “Swedish sound” that most of us know as being a kind of mix between crunch and white noise. Every song has a very mature approach towards composition, not sounding very melodic, but dark, vicious and awestruck. This is fierce, ruthless death metal played by people who had a spark in them and wanted to play crazy music.

This EP is a very good example of how a rough start can prophesy a band’s great career with no absolute low point whatsoever and be a marker for good things to come.

For fans of: Grotesque, Dissection, Watain

Malediction releasing Chronology of Distortion discography re-issue


Previously under-appreciated UK death metal band Malediction, whose sole release was a live recording on Wild Rags Records entitled Chronicles of Dissention, has partnered with Dark Blasphemies Records to re-issue its discography as Chronology of Distortion, sixteen tracks spanning 72 minutes of death metal slated for release in December 2015.

Known for their laconic take on the Morbid Angel style of phrasal guitar riffs woven together into a narrative, Malediction specialized in using selective melody and introspective lead guitar to create a unique vision of the death metal style. Fans who could not get the songs on Chronicles of Dissention the first time around will appreciate these lost classics finally coming to light.

Unearthly embarks on Unearthly Rites tour


Brazilian speed/death metal band Unearthly have embarked on a tour of the United States which sees them which sees them hit over 20 dates with Krow and Nihilistinen Barbaarisus. Following the steps of Hate Eternal and Nile, Unearthly embrace a technical style of death metal which features the choppy riffs and stop/start techniques of speed metal. Listen to their 2014 album, The Unearthly, below.

Dark Reign releases “Fire Power Resurrecting Death” demo (2015)


Dark Reign, a band most known for its 1980s demos of speed/death metal hybrid high-intensity metal, has released a 2015 demo entitled “Fire Power Resurrecting Death.” A sample track follows, showing more of ripping riffs and thunderous choruses for which this band — which granted members to other Texas death metal acts — has been known and appreciated for during the past two decades.

Reaching for a Red Sky


I. A brief introduction

In 1992, At the Gates released their first full-length album after an earth-shaking demo of unprecedented refinement in composition. The full-length, titled The Red in the Sky is Ours, was to become not only the band’s magnum opus but also the greatest achievement of Scandinavian death metal then and since then. Hidden under distinct layers of complexity, ideas at different levels flourish, diverge and converge in ways that are not always easy to follow, throwing the less-than-adamant and less perceptive listener off at every turn and twist of the way. This is not a spurious claim but an observation based on deep acquaintance with the composition of the music in this album as it stands in contrast with the groove-banality of most Swedeath, including favorites of the populace like Entombed Left Hand Path.

According to Anders Björler, this early output was almost entirely arranged by the much aged (about 6 years older than the rest of the band members) founding member Alf Svensson, who painstakingly controlled the process even in the vocal department. To be fair, this debut album is definitely the result of the best talents of all the participating musicians directed in a very concentrated direction by a mastermind. In fact, a distinct At the Gates’ “sound” in this era comes from Tompa’s unique style and the exchange between the quirkiness of Svensson’s style and the melodic clarity and repose of Björler’s, without failing to mention the flexible, stellar and extremely appropriate tailor-made drum arrangements of Erlandsson. Among the often-commented and curious ways Svensson had of getting ideas for At the Gates’ music was playing folk music tapes backwards. The whispers, screeches and screams  of the vocals were also carefully gauged by this guy who even pitched certain passages — a very uncommon practice in death metal.

Given the strange appearance and convoluted (almost perverted) character of the music that confirm the topic of insanity and inner journeys discussed in the lyrics, it has been overlooked in the same way that even the great genius of J.S. Bach may be deemed “no more than a composer with a penchant for writing minor-key melodies” by the blind and the ignorant. This complexity extends from technique to progressive structures all the way to motif and idea.

Lyrically, The Red in the Sky is Ours is very poetic, describing scenes and mixing these visions with colored allusions and evocation of feelings, creating a land between the image and the emotion where the two come together and mix, blend and crystallize into one or the other at a different points. This mystic poetry is not only present in the words of the album but is reflected and paralleled in the music. The concept here is strongly integrated and reinforced at several levels that remain elusive enough to create a sense of mystery yet concrete enough to be identified without a shadow of doubt.

The mention of the use of a violin in the album is in order but should not be overemphasized as gimmick-oriented audiences have often highlighted it as if it were the defining or most interesting thing going on here. The violin is appropriately used and adds a very eerie aura through its intensified fretless access to microtones which make the semitone emphasis  and augmented intervals sound even more off than they sound on the distorted electric guitar. One can still detect an amateur performance at some level on the instrument, but it is not that notes were missed or that wrong notes were played, and more of a lack of finesse in performance.

II. Apparent influences

At the Gates was formed out of the ashes of Grotesque, a melodic-motif-based, riff-salad-propelled progressive death metal band. The creative and savage impulse of the younger band remains in At the Gates, but filtered through a matured and controlled thought process under the guiding hand of a visionary metal composer. In my opinion, the single greatest metal influence on the band were the Americans from Atheist, whose shadow looms over the fully-formed style of At the Gates in The Red in the Sky is Ours.

Atheist’s trademark is found in its jazz-inspired rhythmic playfulness, ever throwing the audience off balance through ploys in the music that never allow one to feel too at home, always carrying the imagination forth in river rapids that form part of a distinctive greater whole that flows in one direction. As good metal, it is composed and not improvised (though improvisation definitely always plays a role in any composition process, to one degree or another). The stability-instability interplay from section to section follows the Gang‘s and Satz‘s  described by A.B. Marx conceptually and through examples of Beethoven piano sonatas.

What At the Gates The Red in the Sky is Ours took from Atheist was an informed fearlessness in the face of convention that did not destroy the music for the sake of innovation but introduced all sorts of pauses, tempo and time signature changes as well as other creative rhythmic gestures within a homogeneous framework that maintained a clear language that conspired to a strong concept rather than indulging any of the musicians. But the younger band took this further and deeper than veterans even in their masterpiece Unquestionable Presence, creating much more powerful and meaningful gestures by making them varied yet subservient to a layered concept.


III. Creating a language

Usually, one relates a band with a style. This style implies the use of not only certain instrumentation but also musical tropes that the audience can expect. A good reason for a band to adopt a particular style (rather than going rogue and define parameters completely on their own) is intelligibility. Unfortunately, more often than not this is not the reason why bands do this, but rather because they are not gifted in music creation and thus only choose a style as a suit to wear and not as what it actually is: a language to speak.

When it comes to this band’s early works, the first step in understanding just what exactly this style they chose is requires an acknowledging of the fact that At the Gates created a dialect of their own from the firm bases of contemporary underground metal at the time. This consisted in abandoning as much as possible stylistic tendencies in structure or composition and reducing their relation to death metal to rudimentary technique aspects such as blast beats,  d-beats and other variations basic percussion patterns  when it came to the drums, and “tremolo” picking for melodies, power chords (and absolutely no use of any other kind of chord in a single guitar), hammer-on’s and simple, non-tremolo picking mostly for syncopated passages.

It is not claimed here that all this was precisely calculated by the band, and it is acknowledged that in all possibility, it was the result of the unconscious result of musically talented minds searching for self-expression. The following section illustrates approaches in applications of typical then-contemporary death and black metal techniques in the framework of distinct songwriting procedures in The Red in the Sky is Ours.

IV. Tainting the sky with red

  • Motif forms. Motif forms in developmental variation as described by Arnold Schoenberg in his Fundamentals of Musical Composition is a series of melodic patterns evolve from executing transformation functions on a primordial one. As little as two distinctive notes from this first melodic pattern can be highlighted and played upon as the central motif, while the rest is twisted, expanded, contracted, flipped, omitted or changed in any other way in progressively differentiating ways. This is not to be confused with a theme, which is a distinctive melodic pattern that is kept intact in the relative relation between its notes and which in the most extreme cases is played slower or faster, or in a different register.  Motif forms allow for a wider range of manipulation that nonetheless preserves a link to a central idea that can be sometimes difficult to see at first, leading relations between sections to sound less than obvious. In the case of The Red in the Sky is Ours, this has resulted in accusations of riff-salad looseness, but these allegations do not hold up in light of the evidence. However, it is true that a degree of intelligibility is sacrificed when flexibility is increased, and these two are one of the so many extreme poles in between which musics attempt to find a certain balance or inclination for their expression.
  • Harmonic coloring. After the selection and limitation to a rudimentary “alphabet”, the reducing of building materials to a homogeneous mixture, At the Gates proceeds to define the next layer: their vocabulary. What happens next are the decisions that shape the character and coloring of the music in terms of the relations between the instruments in terms of texture and harmony. Harmony here does not only refer to the horizontal relation of notes at any one point in time, but of the sequence of harmonic implications within or between riffs. In the strictly horizontal aspect, when the two guitars play melody lines, they often play the same, leaving “harmonization” as an afterthought until after the riff has been properly introduced and the listener is very well-acquainted with it. Rather than a way to easily beef-up the music as in Sentenced North from Here, At the Gates makes a much more elegant and measured use of it as if it were a punctuation mark. This is mostly done in fifths, sometimes in octaves and a very few times in minor third intervals. A very few passages make use of short counterpointed melodies of the most basic sort, but inserted in crucial points to a very powerful effect. The use of each of these not as a feature but as part of a set of calculated flourishes is another thing that makes At the Gates rise above most bands. Needless to say, the rhythm-and-lead modality is used by At the Gates very, very little and usually takes the form of something more akin to melody and counter-melody. The second aspect can be noticed in different applications. One of them is playing a melodic pattern in one register and then playing it exactly as it is exactly one semitone above its original instantiation. The band uses this simple technique to expand several riffs throughout their debut and is in line with the music’s apparent penchant for focusing on the semitone as a motif, giving the music a very uncomfortable lingering feeling most of the time as the minor second interval is a very dissonant one only a little step away from perfect resolution. This, in turn, is liberated by the addition of more stable (so-called “melodic” — correct term: consonant) passages that are in turn intensified and elevated by being placed amongst the ever-present hanging melodic, semi-tone dissonance.

  • Percussion. As has been said before, the drums in metal should be more than the strict representation of tempo, but they should not run amok in self-indulgent expressions of virtuosity or “feeling” either. In the band’s debut album, Adrian Erlandsson achieves perfection in balance between creativity and functionality in a very technically-oriented style. Like many of the early classics, this technically intense music can go undetected because of two reasons this writer can think of in this moment. The most easily pointed out is the fact that the basic expressions are rudimentary metal techniques which in themselves do not present a challenge to accomplished drummers. But looks can be deceiving as the difficulty lies in the smoothness between patterns, in addition to the right emphasis within and between them in relation to the rest of the music. This is basically metal drumming taken to classical heights and taking technical cues from the only available precedent: old jazz drumming. A very good example is the way the drums complement (rather than mirror) the speed of the notes and intensity of the guitar patterns. Sometimes these two come together and accents are focused, sometimes the drums will reduce intensity and calm down to a very basic pattern in order to give space and highlight to a particularly melodic-consonant guitar melody interplay and yet sometimes it will blast away as the guitars play moderately midpaced and slow notes. These never feel forced or out of place when seen from the point of view of being an expression inside a larger scheme, but may seem a little “weird” when taken out of context. Unfortunately for the appreciation of this album, most listeners cannot go beyond the moment and the riff or the cool drum pattern. The beauty of truly advanced drum arrangement (as opposed to virtuosic display alone) is completely lost on most of the audience.

  • Silences and pauses.  A subtle but decisive element that elevates the composition in The Red in the Sky is Ours to a place actually besides classical music (as opposed to the many metal albums that are superficially likened to classical music based on this or that pattern in the music) is the use of silences for articulation — yet another device used by Atheist that At the Gates took to a whole other level. Silences throughout the album work mainly as expectation creators, creating an effect of falling through empty space, and as buffers between two different motific areas. It is also worth pointing out that silences do not only occur in total muting of all the instruments. Sometimes the little trick Atheist likes of letting the bass run over a little drum pattern alone only to have the guitars come after it is used. But also, one guitar alone over drums, or only drums, or alternations of all of them (as occurs in the closing passage of “City of Screaming Statues”).

  • Orchestration. The bas-reliefs created in The Red in the Sky is Ours thus run at multiple levels, from these plays of harmony, to motif relations, to textural adjustments in between the instruments in which the percussion plays no small role.  An analysis of the flow of the music from one section to another reveals a painstaking amount of planning and consideration regarding these elements. The album amounts to an extremely expressive and variable set of statements and arguments from a single voice (embodied by the aforementioned homogeneous-ness from adherence to rudimentary techniques and particular harmonic-melodic inclinations). When it comes to orchestration, the decisions of how and when to let the guitars use this or that picking technique, when to make them play the same or in harmony, when to let the drums lead, when to make the drums fade into the background seem to obey a song-wide plan, and not one in which only the shock or pleasing nature of any one passage is considered. So, it is not which techniques or approaches At the Gates used in their debut, but how and to what ends they did. This music speaks out as if it had sentient and emotional capacity of its own beyond the words or the execution of any single instrument that produces it.

“The term orchestration in its specific sense refers to the way instruments are used to portray any musical aspect such as melody or harmony.”

— Orchestration Wiki

V. Long-range planning

Now comes one of the most exciting and accomplished aspects of The Red in the Sky is Ours: its composition on the scale of whole pieces, rather than in a collection of disparaged cool-sounding passages. Without any assumption of a voluntary or conscious reference by the band to master composers, this writer feels the need to illustrate the outstanding crystallization of advanced thought processes in composition by making a connection between this great metal work to certain general procedures of Ludwig van Beethoven, Anton Bruckner and Antonio Vivaldi.

Structurally, the affinity to Beethoven’s method comes first as it refers to the encompassing of motifs and their tying-together by entanglement. The late German master would develop a first main motif, sometimes introducing a contrasting idea that may be mistaken as simple gimmicks for effect here and there. Now, he would not allow these to remain simple dead ends. These initial and apparently random passages that salted the presentation of a first motif would become the seeds for other areas of development, thereby revealing them as hints and vistas of what lay ahead. Like At the Gates, Beethoven sometimes introduced new ideas in a contrasting and almost transition-less manner, and then proceeded to slowly integrating them by interpolating them and already-established motifs, even using them together while always looking ahead in the development.  Beethoven’s late quartets display everything one can look forward to in At the Gates The Red in the Sky is Ours in more advanced arrangements.

The reference to Anton Bruckner may not be as pervading and far-reaching as Beethoven’s, but it is still a key aspect of the character of At the Gates’ debut. This is a specific way of reusing and sometimes transforming a motif which works on a different dimension than the developmental variation. This is the attention to the color of a same idea, perhaps a theme or simply a motif in different contexts as it shines through different harmonies and textures. Brett Stevens has aptly described this as prismatic technique, alluding to the effect a crystal has over light going through it and exiting from different angles.

Last comes the most general and slightly elusive comparison to Antonio Vivaldi’s music. The relation of any metal music which has separate guitar lines can be likened to a lot of Vivaldi’s music for two violins, as this revolves around two lines. The best melodic death metal uses this concept to its full potential. Also, the clarity and rhythmic straightforwardness and affirmative character of this pure, Italian baroque music is a template and reflection of good and simple progressive underground melodic metal such as the album under discussion. In the case of this metal masterpiece, I want to especially call attention to an section-expanding procedure in which a pattern is repeated while elements surrounding it add to its texture in increasing waves or in slide-shift manner that quickly takes one idea and juxtaposes it to a second as the second one takes precedence towards the end of the whole section. (Typical in At the Gates’ music -> G1: A A A’ A’  BBB’B’ B’B’, G2: AAAA  A’BB’B’ B’harB’har)

Last of all, there is a high-level characteristic that gives this music a very organic feeling, that is how the number of repetitions adjust to the needs of the music, often avoiding sounding too squared, too even. Instead of a lot of the typical “repeat four times”  formula we find in metal we find a lot of different combinations that nonetheless favor the even-ness traditional to the genre. What is achieved here is an element that lends unpredictability but does not detract from the music, a small tool used when music needs a little push from un-evenness: odd number of repetitions. This becomes especially powerful when combined with the riff-motif sliding technique just mentioned. A perfect exampled can be distinguished in the middle climax/breaking point of “City of Screaming Statues”.

While most would agree that most death and black metal need to be analyzed with a modal mindset, approaching The Red in the Sky is Ours with this more simple-minded preconception would be doing the masterpiece a great disservice. The powerful way in which harmony, implied or explicitly presented, is used here was unprecedented in its time and has largely remained unparalleled since in the death metal world. Yet it is not this or that aspect what makes it astounding, but the convergence of all the elements and the stacked up layers of refined aspects from playing technique to mind-numbing attention to composition technique in its vertical and horizontal dimensions and in its short and long ranges.

Crafting a unique album in the full sense of the expression, At the Gates gave us an example of how thinking that everything has already been done is just a scapegoat for people who were not meant to be creating artists in the first place. The Red in the Sky is Ours does not introduce new playing techniques or strange avant-garde-isms in strange influences that change the character of the music, but for those with the eyes to see it, they rose above the masses in producing a profound work of art that will remain immortal so long as its objective qualities, at least, are understood. This is an album that stands besides Burzum Det Som Engang Var and Cóndor Duin in showing us how excellent, original and forward-looking music can be created without resorting ignorant attempts at directly redefining paradigms or favoring nonsensical experimentation that results in garbage. Instead, what we have here is sure-footed creativity based on tradition that is carefully gauged through both technical knowledge in its Apollonian manifestation and its inner Dionysian sense to a both logical but unpredictable result.