Once in a while during a band’s career, there comes the moment when you
look back and reevaluate your body of work. Such self-criticism can
either lead towards an overhaul of one’s
stylistic palette or increased awareness for what you truly are.
Considering Brazilian death metal brothers Krisiun, such an analysis can
cause quite a dilemma. Active since 1990, and renowned for such furious
classics as the rabid “Black Force Domain” (1995), 2000’s constantly
blasting masterpiece “Conquerors Of Armageddon”, and the merciless yet
memorable “Southern Storm” (2008), the band’s trademarks have always
been insane tempos, almost inhuman drumming and Lemmy-like roaring
vocals negating any sense of ‘hooks’ or ‘melody’. And, let us face it –
while Krisiun have become extremely technical and more varied in terms
of grooves and rhythms over the years – they are forever committed to
deliver the full-on-death-metal -assault that made the group legendary
in the first place. Still, after 2015’s “Forged in Fury”, Alex, Max and
Moyses realized a different approach was necessary. “It was a bit of a
complicated album,” singer/bassist Alex Camargo admits. “There were more
slower parts on it and it was also quite long. We still stand behind it
100%, but we doubt it is what Krisiun’s essence is about.”
Thus, for “Scourge of the Enthroned”, Krisiun’s 11th studio album, the
group decided to head for a faster and extremely savage record again.
Clocking in at an intense 38 minutes – counting in the bonus tracks
“Forged in Fury” was almost an hour long – it was also due to producer
Andy Classen’s input that “Scourge of the Enthroned” became a real
monster: “Working with Andy at Stage One Studio again, felt like coming
home. We stayed at his musician’s apartment for almost a month and we
all concentrated on capturing an honest, almost live kind of vibe and
trimmed the songs harder than on the last one.” Located in the
countryside close to German city Kassel, the landscape helped immensely
during this period. “There was no distraction at all, that place is in
the middle of nowhere and apart from barbecuing with Andy we just worked
on the songs like madmen.” Once the album kicks off with the title
track, Krisiun’s newest opus hits with an urgency and immediate force
that even harkens back to the debut! “You mean the ‘Black Force Domain’
riff in ‘Demonic III’, huh? That song is about the band and our history.
After all these years, we felt it was about time we do our own anthem
and a riff like that is a bit of a throwback for us and the fans!” In
terms of sound, however, the band did not bring back the uncontrolled
roughness of “Black Force Domain” yet had a distinct mindset when
starting the recording process: “We interpret the album title as us
being a scourge for all the plastic death metal out there. You are
listening to human beings here not a computer!
All has been
recorded and played naturally, and while you can hear all details, it
does not go for this ‘American’ sound that is so lifeless and sterile.
It is a very organic and heavy album and I think that connects it with
the spirit we already had on the debut.” Indeed, sir, and it offers a
whole bunch of highlights as well! From the Slayer-like screeching solo
opening ‘Devouring Faith’, to the neck-breaking ‘A Thousand Graves’ and
rhythmic complexity of ‘Abysmal Misery (Foretold Destiny)’ over to the
album’s epic finale ‘Whirlwind of Immortality’, the latter being another
track connected to the artwork by Eliran Kantor (Testament, Hate
Eternal, Incantation) as Alex explains: “The song is about the Anunnaki,
who appear in Sumerian mythology, judging the fates of mankind. Often
they are portrayed as seven figures, we have only three appear on the
cover since it connects well with ‘Demonic III’.
As Krisiun is
about to celebrate its 30th anniversary in 2020, it’s only fair we now
appear symbolized as ancient death metal gods on the cover, haha!”
Lyrically, the album however does not dig too deep into myths as Camargo
confirms: “We deal with religious fanaticism, war, and the tragedy of
the refugees, who flee from the fighting in their home countries to end
up drowning in the sea or being treated like dogs in the western
countries. Reality offers a lot of topics to write pissed off death
metal!”
Asked what plans Krisiun have for the months to come,
Alex promises a release show in Essen (Germany) on September 7th, a
global live onslaught and invites everybody to check out “Scourge of the
Enthroned”, revel in its violent glory and adds: “We are one the few
three piece bands out there, delivering it tight, loud, raw
and real!”
Century Media 998252-2 | Century Media 9982502
Arise from Blackness (2012)
1. They Call Me Death 03:00
2. Unmerciful Order 02:35
3. Crosses Toward Hell 02:51
4. Agonize the Ending 02:59
5. Summons of Irreligious 02:53
6. Meaning of Terror 02:14
7. Infected Core 03:48
8. Insurrected Past 00:44
9. Rises from Black 03:44
10. Sinner's Scorn 03:50
11. Evil Mastermind 04:34
12. Prophecies of the Plague 03:51
13. The Dead Are Rising Up 03:11
• Alex Camargo: Bass, Vocals
• Max Kolesne: Drums
• Moyses Kolesne: Guitars (lead)
• Mauricio Nogueira: Guitars (rhythm) (tracks 1-3, 5-7, 9)
• Altemir Souza (R.I.P. 2002): Guitars (rhythm) (tracks 10-13)
Label: Century Media Records.
Limited edition, Black disc.
Tracks 1-9 taken from "Unmerciful Order" .
Tracks 10-13 taken from "Curse of the Evil One" (split LP with Violent Hate).
Black Force Domain (1995) Reissue [2013]
1. Black Force Domain 05:19
2. Messiah of the Double Cross 05:02
3. Hunter of Souls 04:04
4. Blind Possession 03:46
5. Evil Mastermind 04:20
6. Infamous Glory 02:06
7. Rejected to Perish Below 04:45
8. Meanest Evil 04:22
9. Obsession by Evil Force 03:44
10. Sacrifice of the Unborn 04:00
Bonus track:
11. Nuclear Winter (Sodom cover) 05:31
12. Total Death (Kreator cover) 03:14
• Alex Camargo: Bass, Vocals
• Moyses Kolesne: Guitars, Keyboards
• Max Kolesne: Drums.
Label: Century Media Records.
Recorded and mixed at Army Studios (São Paulo), March / April 1995.
Remastered at DMS, Marl.
Co-produced by Krisiun.
17.9.2002 Sala Anoeta, Vigo (Esp)
