'Legions Awake' - There. But not there.

The only words that come to mind at this point are - "Finally, The Rock has come back to....", but hey, I'm all humble n all that. Down to business then.

The first time I saw Inner Sanctum was, I think, in Freedom Jam 2007 when they were just about getting started. I remember listening to 'Quarantine' and their cover of 'Dead Eyes See No Future' and thinking to myself - 'Holy shit.'. I saw them most recently at the Rolling Stone Metal Awards at The Blue Frog a few weeks back and that feeling stays the same. Over the years, the band has really come a long way, playing at and building associations with some of the biggest names in the Global metal scene. That said and done, there's something in their live act that doesn't quite translate into this recorded album. It's a pretty good album, no doubt, but somehow, doesn't do for me what their live act does. Maybe it's because I still like their older 'Quarantine', 'Human Disregard' and 'Agent of Chaos' material a tad more (review on that here - http://ircritique.blogspot.in/2010/02/provenance-is-revolution.html). Anyway, here goes.

The album begins with 'Incipiens', the now mandatory slow building lead up track that most albums have, I'm guessing it's the same stuff that plays at their venues before the band takes stage. It's adequate in what it's expected to perform I guess. Nuff said. 'Wake of Destruction' is a track that premiered a little earlier with an oh-so-awesome CGI video (https://www.youtube.com/watch?v=MrxzQRmYafA). I actually quite enjoy this track. These guys are not just technically adept musicians, that they are, but that they are showmen is evident in the right pauses and pick ups. For instance, I love that small bit when the second cry of the chorus "Hell be the reason..." happens after a second's pause. Some may not agree, but I don't believe in dissecting music into pieces of technical prowess individually assessed, music delivers when it leaves you feeling, at least a tad bit, more awesome than when you started off. This track, somehow, delivers that to me. 'Reflections of the past' is alright - has its moments, but doesn't do more to me. I still like the bits of double bass throbbing while the guitar shreds off to it a little. But all in all, adequate is what I'd call this track.

'Realms of Oblivion' is a decent track. Not much to write about. I can see 'Max Cavalera'-esque bits from Mr.Basu here. Love the shredding in the end of the track though. That's the shizz us mortal metallers die for. The transition to the next track somehow tells me that this is one edge the band didn't quite file out, which is very unlike them to be honest. Like I said, showmen as they are, I'd expect them to make more out of such an awesome riff. The title track follows and does it live up to the billing of a title track, hmm, I don't quite know. I like the chorus though, something fundamentally Sanctum-esque about it. The solo too, cuts through, kind of a departure from what you're used to hearing from these guys. To be honest, I was just getting impatient about getting to the next few tracks, which I've thoroughly loved in all of their gigs.

OK, so this is the bit where I wait with an open jaw and cup of chai (add the non-existent sutta and big ****in glasses and you'd have the complete creative genius image, no?).

'Tainted Soils' - I love this track man. The first time I heard it was back when Rajeev Ramesh was still with the band and along with Chintan, formed what is probably one of the best shredding duos I've come across in the Indian scene. Somehow, I thought I liked it better then. Don't get me wrong, it is still an awesome track and I've been going on for ages by the time I write this review, with this track on the loop. I love that sweep-picked solo - I remember Rajeev doing that live back then, can't remember if it's Chintan or Suraj that kicks this up now. But ya, that stuff is awesome. All in all, the recording somehow fades a little in comparison to the live act.

'March of the wounded' stands out on the back of that legendary-sounding riff. I could go bonkers headbanging to that riff all day long. I love the transition to the next track too, seems almost continuous and yet not. Existence denied is supposed to be the megatrack of this album - with collaborations from ex-members of Death, Testament, Arch Enemy and what not. It is an adept track, technically, but doesn't really throw me off my chair, if you know what I mean.

I absolutely love the last track, Guardian. Elements of melodic death in this track along with an ending sequence that has a semblances of Metalcore and Math Rock. I love how this begins, then transitions into the animal it becomes - wades its way through a smooth frigging solo and then, ends in a satisfying riff combo. This track is to me what symbolizes Sanctum in a lot of ways, Their music, while involving technical proficiency, can yet be understood and connected to by most. Something about their rhythm sequences and choice of sound that borrows from a fundamental human want - the need to rise above. There is something strangely dark yet uplifting about Inner Sanctum's music in general.

As for individual efforts, Gaurav Basu comes to his own in this album, although you'd need to see him live to see the presence he truly brings to the band. Chintan/Suraj and Abhinav, to me, are the superstars in this album. Brilliant drumming patterns and amazing riffs. . Abhishek Michael provides the much needed solidity and spine to the sound.

Verdict: 3/5. Good, but not quite there.

You can buy it here - http://imojo.in/6sx02

Wrath Unleashed!

Hello to our non-existent insanely-crazy-metal-horn-raising fans out there and our apologies for the seemingly eternal delay in getting our lazy hands on the keyboard to write this down. However, trust me, the album that we’re getting back on our reviewing ways to here, is so badass, it makes the wait more than simply worth it. Ha, you will see what I mean…

Once in a fairly long while, there come out albums like Pink Floyd’s ‘Wall’ or Death’s ‘Symbolic’ that, well, pretty much warp the entire sphere of music and bend it so badly, they begin owning it. Infernal Wrath’s Inside of me, is all that, and more. In fact, this album hit me so hard the first time I heard it (about 3-4 months back), that I just HAD to take a while to let it sink in, lest I go overboard and begin another worship trip all over again. Honestly, 4 months of listening to the album an innumerable number of times, and I feel no different!

This is the first true Indian metal concept album, to my memory. As for the concept itself, the band says depicts – “path of self-realization that is set to a backdrop of the events preceding the Apocalypse which has been foretold in various scriptures which form the basis of various religions & sects all across the globe.” This, though, is not the true differentiator. It would take a band REALLY willing to experiment to actually include Indian classical undertones and ambient melodies in an album as brutal as this one. Surprisingly, they have managed to get these distant enemies married!

The album begins with 'Truth' - a tone-setter for the brutality that is to come. All through this track, you can constantly hear this beast gnashing his teeth waiting to pounce upon you, walking slowly, yet steadily, towards its prey, in frightening serenity. Five and a half minutes of acoustic guitars and n number of random Indian instruments later, you are set to take a deep dive into a land elsewhere. Aptly, you’re welcomed to this land by booming drums in the hands of one Mr. JP who, really, is the star of the album. 'Inside of me' is an apt entry point and manages to surprise you enough all through the track to grab your attention, which is an entry number’s point anyway. As a standalone track though, this can’t hold a candle to what is to come. 'Turmoil' is another build-up track; you can hear what sounds like Indian black magic incantations through the track, giving it that necessarily eerie feel. ‘Behold Ezekiel’ is your typical brutal death belter with a typical brutal death pattern. Nothing much to say about it, it just fits in neatly with the entire scheme of things I guess. Nevertheless, as usual, JP is awesome. ‘This Forever Lasting Journey’ is like an interlude in the album, serenity personified and it forms a very important section of the story that the album is trying to spin. ‘Funeral Pyre’, is my favourite track on the album (although stand alones do hardly as much in comparison to the album experience), JP’s work on this one is simply magnificent (Damn! The sound of that crash!). Afaque on vocals really excels on this one too. ‘The Swordbearer’ is Sushan’s (Keyboard and Sampler) spotlight number. Although this may sound absurd, it has a very Rahman-esque feel to it. Symphonic and glorious, this track really hits the spot for me! ‘Foothills of Palestine’ is a different breed of brutal death, while staying as brutal as ever. Now don’t ask me what defines this breed, for I do not know. I just know it. I love the bit of this track from 3:10 to 3:40. Somehow, when the bass becomes the solo instrument, it captures my imagination. ‘The Creation of the Lotus’ is like an Indian melody, often reminding you of some random classical sounding music in a religious setting. But, well, inexplicably, it falls in place and blends into the canvas. ‘The destruction of the third temple’ is the most acclaimed track from the album, from Rolling stone metal award nominations to fan hoolahoo to what not, and justified too! All through its 6.833 minute stretch, not for a second are you left unsurprised, this track is a roller-coaster ride in itself and, to me, it comes second after Funeral Pyre among my favourites from the album. Siddah Arth is an outro of sorts, giving your neck some rest and providing the album with that all necessary ethnic seasoning. Pradip and Amnish on guitars give us tight riffs and memorable solos throughout the album. Vian on Bass is adequate.

Nice cover art.

Conclusion: 4.5/5. Go Buy.

Provenance is Revolution

From what I hear, my only review here (Theorized) was shunned down as mere band worship and not a critical writing so to speak. You see, as a reviewer, you want to consciously avoid that pitfall, but to do that with honesty on this album is a little difficult. I will try though. Here goes.

Inner Sanctum's Provenance, the debut EP from the Bangalore based thrash/technical quintet, has been receiving rave reviews from all over the globe (Rolling Stone to Metal Rules and what not?!). This in itself is testimony to what this work brings to the Indian metal scene, to gain global visibility, for an Indian band, ain't no joke! Not to mention, for one that is all of 3 years old! Provenance, hence, is in a sense a harbinger of fresh hope to every upcoming metal act out there. As against what has often been the case in the past, you don’t need to have age (well masked as “experience”) to make the world stand up and take notice. Sanctum is probably the fastest growing band at this point in this fast growing nation of ours (no, it’s not a coincidence I put these two together).

I have been a Sanctum fan right from when I saw them live first at Freedom Jam '07. Thanks largely to their super-charismatic ultra-enthu vocalist Gaurav, I'm sure anyone who's been at a gig of theirs would accept that the raw energy the band brings to the stage is unquestionable. This raw energy ends up rising to be a towering giant with the crowd in his hands telling them to break their friggin necks off! Right, so down to the album itself.

I read a review somewhere stating that it’s unconventional for a metal act to pay tribute to an actor. Hell, is there a darker persona to write a metal piece on than is "The Joker"?! (aptly titled “Agent of Chaos”). The first thing you notice when the album kicks off with that axe-churning metal defining riff is the quality of the mix. You can hear every note to precision and it’s as clean as it’s distorted (if you know what I mean!). The riff is fairly familiar sounding (although I can’t seem to recollect from where), but a few seconds forward, you see the band taking that riff and toying around with it to give it a whole new shape and dimension that drives through the entire track. The solo contrasts the grind through the song err...can’t get the right word (somehow, beautiful is not it), but well, positive connotation intended. The true quality of the mixing comes forth primarily when you hear the drums! Kiggarse! I do have an issue with the vocals though, while it sounds really metal and stuff, it sounds too perfect to capture the live feel which really is what the band has always been about. That’s my opinion anyway.

“Quarantine” has, always, been my favourite since Sanctum released a, well, lesser said the better, video of the song. The number of times I pitched for the band back then with friends since listening to that one can only plainly be put as infinite. Here’s laughing at their faces (muhahahaha). The time since the track was made available on their myspace page and before getting my hands on the disk, the same infinity would account for the number of times I’ve gone berserk to this one. I’m not about to review this one. Anything said would end up being an understatement of the kind of maniacal madness it has always succeeded in putting in my head.

Now coming to everyone’s favourite, "Human Disregard". Let me say at the outset that I’m no less blown away than the masses are. Why I prefer “Quarantine” to this one beats me! But, hell, this track is actually definitive of the band; you simply cannot not go berserk as you listen to that (I don’t know, should I call it adrenaline pumping?!) riff! The precision in the drumming patterns (precise yet not sounding plastic) on this song is simply stunning. But the ending, post that little bit of a speech sample, is mind-blowing! Wasn't the no remorse ending originally on “Quarantine”?? Anyway, it fits in just fine. Layered vocals, awesome.

Eye of False! I simply love the clunky output coming out of a bass guitar all loud and clear! Maybe a bit of a bias towards the bass, still, I’m sure you’ll agree with me. That’s the first thing that struck when I heard this track. The riff again sounds familiar but is razor sharp and literally cuts through like a knife. This is probably my least favourite track on the album (note – least favourite, still, favourite). An Opeth-esque ending fits in nicely, although I read a review stating it could’ve been avoided, I think it fits in well and we all want that bit of innovation don’t we?? (I come from a school of management and that is a buzz word never to be forgotten).

All in all, this album is a metal feast. At 13:37 (now I don’t believe that’s a coincidence...or is it?), while good enough for an EP, you somehow wanted more. Tight work throughout the album and kudos to the band for having achieved in such a short while what many bands would’ve in a decade. The packaging is excellent, looks like Gaurav is being a good student. Haha, funny picture.

Bottom line, Provenance is more than just an album; it is a sign of things to come for us holy citizens of metal India. I’m sure its impact will be felt far beyond its time and farther beyond the band’s prime region of competence. I’m writing from Kolkata, so I guess the work’s already begun. Revolution is coming.

STUPIDITTIES

Stupiditties - The "un-metal" compilation. Don't you make presumptions looking at the title or the artwork, because this album is truly one-of-a-kind and happens to be quite brilliant too. An ennui.Bomb release, this features 18 rock/alternative bands from all over India. No metchul, sir. Wonly rock. It was originally planned to be a punk rock compilation (possibly the first in India) but I guess they couldn't find that many punk bands here. No surprises there, punk hasn't really picked up in India.

Delhi based Descant's Forth Track taken off their "Mad Ambition" EP is the perfect album-opener. Catchy and upbeat, it gives a feel of things to come. "Only Human" by Skinny Alley is one of the best tracks on this album. Varying tempo and insanely infectious. Jayashree Singh is a brilliant singer..and what a voice! Mumbai bands Aftertaste and Split unleash raw rock 'n' roll energy with kick-arse choruses. Glowworm by Cassini's Division is well written...one can sense the haunting desperation in the vocalist's voice. Human Abstract sounds a lot like Rage Against The Machine. "Re Serve" is a cry against the Reservation Bill...it didn't leave me inspired or much impressed. Decent track though. LBG (Little Babooshka's Children) is a Chennai band. They have, in their own words, "no talk of Satan, or death and destruction". "Bad Children" is just pure fun! Hypnosis and Half Step Down have a classic rock feel to them. Cyanide's "My Bitch" is alright but gets boring too soon.

As promised, Stupiditties has a lot of variety - with a jam and some electronica too! Something Relevant makes for chilled out easy listening. There are a couple of punk songs thrown in too. Tripwire and ForceField are simple, fast and catchy - everything punk's supposed to be. Tripwire's "Frozen Portrait" is cheekily titled, possibly taking a dig at Demonic Resurrection. Heh. The Superfuzz belts out perfect garage rock, I must say! "4 Times and Once After" is a clear winner. It's time for electronica now. Medusa's Beep Off is so bloody catchy I could dance to it...3 minutes of awesomeness!
"I tremble, J parties"
The album signs off with Grossing Decency, erstwhile called Asshole, which, although good, shouldn't have been the last band on the bill.

The booklet provided has all the information on the bands featured. Plus, amazing production.

Conclusion : 9/10. This compilation is truly a collector's item and I'd recommend it to anyone wishing to try some good Indian rock music.

THEORIZED - FALSE HOPE OF TYRANNY

There are a few albums out there that would put your head on an infinite oscillation path, but there are very few that make you want to take the roaring animal inside you and scream till your larynx burns into ashes, Bangalore veteran Theorized's long time coming album "False Hope of Tyranny" is one of these. From the minute the intro kicks in to when blackout happens, this is one hell ov a ride on the wings of metal fury. Before anyone rushes to so drastic a conclusion as to call it a perfect piece of art, let me state that the album doesn't come without shortcomings, but these are ignorable as the overall feel of the album is unquestionably adrenaline-pumping.

The intro although void of any display of extra-ordinary instrumental prowess is the perfect platform from which to launch the all-out attack that the rest of the album is. Dark incarnation is mostly characterized by furious pace although moments of variation are aplenty. The interludes are beautifully blended in and give the entire song a rich feel. Raise the dead, now this is one song I, personally, was looking forward to listening to. After having to listened to the demo on the strawberry fields '08 compilation, I was expecting big things in terms of a richer much improved sound...and...I would be lying if I say I wasn't disappointed. Although the track still rings all the right notes, somehow, the raw feel of the demo hit the spot better. I'm sure there would be many who'd feel the same. I must mention here, Yash's accurate yet true sounding work on the drums. He's come a long way from the first time we saw him at a gig. Venomous Tormentia (VT), probably the most popularly looked forward to track from the album, simply put, is brilliant. When the song opens, you feel like your waiting at the mouth of a devil's ride at some twisted carnival and the moment you enter, the chaos begins, in a good way that is. From the evil laughter to the perfectly fitting solo, the song ravages on as the monster it is. And kudos to Madhav (On lead Vox) for bringing out that "Evil is Bada**" feel to near perfection. Blackout, well, lets just say, the best was saved for the last. This one simply kicks the holiness out of all the behinds in the world put at once. Madhav really comes through in this number, although his work throughout the album is unputdownable. I do not quite know what exactly it is about this track that makes me put it in such high regard, but I guess thats what really makes it brilliant. A befitting end to a stunning album. Ankit and Vishnu (on guitars) are stellar through the album, I must mention the solo to raise the dead which caught many an ear among my fellow metalheads. Sankalp is meticulous and precise while still maintaining that raw bass feel which is so important in any thrash metal work.

All in all, this is pure Indian thrash metal for you.