Label: Crypta Records - 55C-8787-006 • Format: CD Album • Country: Germany • Genre: Rock • Style: Death Metal
Best viewed without Internet Explorer, in x resolution or higher. Often overshadowed by the impressive scenes that developed a tad bit earlier in the U. By the time rolled around the Teutonic legions of death had already managed to catch up with the stylistic evolution of the greater death metal movement and a number of progressive-tinged behemoths in Dark Millennium and Traumatic Voyage had begun to modify the existing paradigm into something far more nuanced and Suicidal Overdose - Amboss - Those Who Have Lost The Right To Exist . Though a tad bit more conservative and less known due to an extremely short run before fading into obscurity, Odendort natives Amboss were cut from a very similar, forward-looking grain and carved a very interesting niche for themselves with their lone Suicidal Overdose - Amboss - Those Who Have Lost The Right To Exist around the same time with their epic foray into the realms of terror Those Who Have Lost The Right To Exist.
First impressions can often be quite deceiving, and no more is this the case than with the way that this album introduces itself. Foregoing any sort of expected ambient intro or sub-one minute acoustic ditties, the first sixty seconds of the epic opening song "Reign of the Moon Or the Symphonies of Sarajevo " listen something along the lines of a twisted homage to the soundtrack of The Exorcist and a dreary folk song with a crooning clean vocal that gradually evolves into a more aggressive and noodling mishmash of influences that dovetails quite surprisingly with Death's Individual Thought Patternsthough also containing some fairly obvious nods to the dark and atmospheric character of Nocturnus and Darkthrone's one-off foray into keyboard-driven death metal Soulside Journeynot to mention landing on a fleeting guitar solo that injects a late 80s, Rick Rozz flavor into what is otherwise about as far removed from said era as might have been encountered up to this point.
Though not a full representation of this album's unorthodox mixture of old and new, this 6-minutes plus ode to the horrors that occurred in the Balkans functions as a highly effective preview for the assorted mixture of hauntingly serene atmospheric sections with technical, riff-happy bludgeoning that follows.
Not content to be boxed into either the traditional or progressive mold, this album essentially contains a rather evenly distributed Automatic - Coleco - Hedmuk EP (File) of both, often separated by the length of the song in question.
Meanwhile, the Kinky - Various - Doppelhertz Vol. 2 and de facto album closer if combining it with the short outro "Adagio Eternal Live" "Reborn" combines a distant, ghostly stream of church organ notes into a meandering homage to the heavily technical precedents that Chuck Schuldiner had set in the early 90s, almost like the band is rocking out in a cemetery with the church organist occasionally piping away in the distance.
Things take on a bit more predictable mixture of thrashing tendencies Suicidal Overdose - Amboss - Those Who Have Lost The Right To Exist things are a bit shorter, as displayed in the heavily similarities to early Entombed's fast-paced exploits on "Common Sons" and the outright thrashing pandemonium of "Temples Of Evil" and "Lost It's a rather sad eventuality that this band virtually evaporated into thin air soon after this album dropped, as they had all the potential to give the likes of Dismember, Fleshcrawl and Edge Of Sanity a run for their money.
Then again, there may be a degree of credence to the notion that this band may have struggled to break through given that their peculiar blend of impact-based death metal with a host of progressive twists that often veered clear out of the death metal sub-genre was a bit out there foras even within the somewhat forward looking death metal scene most probably didn't know quite what Suicidal Overdose - Amboss - Those Who Have Lost The Right To Exist make of it.
Having said that, the years have actually been quite kind to this collection of songs as the death metal genre has come all but full circle with the revival of the old school sound, thus resulting in the Spanish-based Temple Of Darkness Records giving this a long overdue reissue less than a year ago. It's a bit jagged around the edges at times, particularly in how the ambient interludes and intros interweave with the rest of the album, but overall this is the sort of album that any old school fan who enjoyed the stylistically transitional efforts of the early 90s should check out.
Amboss were a death metal band from Germany. As a band, they based this record around adventurous symphonies and full-toned harmonies. Faultless, this band was during their era. With closer scrutinizing, you can see that most if not all American death metal bands immensely lacked this kind of originality.
Amboss had only one furlough throughout their short occupation. If you're a fan of orthodox formation, you shouldn't have any misfortune accepting this fine work. Throughout this unrestricted record, all tracks are heavily-based around orchestration. Clean vocals play a substantial role throughout a lot of the record, they can also be advised as storytelling. You can't neglect your paradigmatic death-growls when it comes to death metal. You can always expect darkened and sinister vocals in this genre of music.
With both clean and distorted vocals being used on this record, you can feel more verity amongst the two. The abysm is widely elevated because of it. The distinguished orchestration and keyboard playing give a praiseworthy amount of abysm to all other instruments being played.
Instead of consistently observing the harsh and grim-like instruments always being played in death metal, you finally get a flavor that tastes experimental to what you're used to hearing. You have your traditional guitar playing and riffs. At times, you can hear a more desirable guitar pitch that sounds more technical and groovy. The bass is, as it always seems to be, pretty quiet, but you know it's in the atmosphere. The drumming is anything too supreme.
The drums are thunderous, not to a point where it's provoking everything else, just where it needs to be observed. The reason why Alex Lee Featuring Extacy - Im Gonna Go Out (The Mighty Remix) band disbanded after their only release is a mystery.