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.