Sunday, September 2, 2012

Ketzer - Endzeit Metropolis

Germany's Ketzer carved a deep hole into the old school metal underground with their 2007 debut, ''Satan's Boundaries Unchained'', a frenetic, percussive blackened thrash assault that no doubt gouged its way through countless of generic gimmicks rehashing the genre, and I was more than content to see that after four years the band finally bestirred a violent mesh of black and thrash, though there was one hindrance that surprised me. Bewildered and dazzled my the immense tiding I received, I could apprehend the thought of the band delivering something relatively different sound. The band indeed makes some changes in their bestial sound that was redolent of Destroyer 666, Desaster, Impaled Nazarene, Nocturnal Graves, Usurper, Aura Noir and the like, though they make these certain changes without inaugurating a whole new formula, but still, I should inform you that the band's tendencies have now evacuated the wholly demented aura that they had embraced and clasped on the previous record, omitting a certain measure of the primal, destructive aesthetics and churning the remainders of the corpulent bestiality with a healthy boast of semi-melodic black metal, in the very vein of Dissection, Sacramentum, Watain.

I myself had problems facing the more sophisticated material the band gouged out because I certainly did not see it coming, but giving the album more than a few spins helps a lot. Admittedly I would have preferred the wild, frantic and blast beta-oriented sound of Ketzer, because that was certainly what they excelled in, but then again, I'm still not sure if they could spurt out evil black/speed/thrashing mayhem on par with the previous release, and thus, I've come to enjoy their newly forged sound almost as much as their previous, primal material, therefore leading me the unavoidable question; can this band top what they've done before if they continue to pursue relentless perfection with their newly acquainted style? We will have time to ponder the question as the band is still fresh out of the oven, with heaps of unmolested attention waiting to be embroidered and released but for now, I think it's best that I get to the main point. Attaining a more melodic and sophisticated sound may put off a some of the band's early audience, but no way are Ketzer loosing the efficiency that they had. ''Endzeit Metropolis'' is just as lively and somewhat diverse, and in addition they mix it with the residue of the detracted sound of the debut, forming a vicious, flesh-ripping assault with voluptuous, almost lamenting inclinations. With a richer and more mature-sounding bar set for the band, Ketzer envelops the listener in atmospheric and catchy percussion in a less truculent matter, delivering a mighty fine brand of black/thrash.

''Endzeit Metropolis'' is also entertaining because it doesn't deliberately lean towards repetition and certain songs like ''He Who Stands Before The Row'' offers majestic quadrants of ebbing, desolate black metal tides and attains a much more creative and drowning sound than you can imagine. The near-two-minute distorted complex of ''Farewell'' is also amazing, albeit not so lengthy, a chthonic emission that is both astute and brazen, and ephemeral paean of mourning and isolation. However deep the lamenting gash is, the album somehow does nor fail to inject a subtle vigor into the music, and tracks which are energetically driven from the start are overflowing with melodious dynamics. Tracks like ''Collector Of Worlds'' or ''The Fever's Tide'' are some of the most aggressive and alluring black/thrash incursions you'll met with, songs that have well mastered the band's newly blossoming art together with the earlier aesthetics. All in all, ''Endezeit Metropolis'' is another win for Ketzer, and these German's are well on they're way to black/thrashing brilliance.

Collector Of Worlds
The Fever's Tide
A Requiem For Beauty 

Rating: 87%

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