GORGUTS - Colored Sands

The veteran from Gorguts, Luc Lemay, has proven, by the fact that the Canadians have now released a new material, that he had all the reasons in the Universe to insist that this band does not disappear from the scene. Because it could not vanish before it got to the apex of its creation and purely dark manifestation.

While in the early 90s Gorguts stood out by their experimental technique, which they perfected with their album and its macabre sound toys, while moving to an even more brutal vision later with From Wisdom to Hate din 2001, today the band completes the puzzle with a piece as a serial killer. This must be the vilest material to ever appear under this name. This killer does not stop at bullets or easy means, but uses deep methods to turn any vital organ into smoke... black smoke!

From these words it would seem that nothing much happens on the new Colored Sands, where in fact there are no colours, as black engorges all details. But what we’re dealing with is the shock of a person who suddenly finds himself under an onslaught of beasts, where the hardest objects hit his body and consciousness with huge weight. And then there is the fascination of the witness who sees an incredibly expressive monument being built out of pure chaotic matter.

Lemay’s voice seems to have the most precise definition, and the sound he generates from the strings has become complete with the alternation of beautiful technical and brutal death riffs with slow ones, which bring the desert into the crowd. Kevin Hufnagel’s melody  amplifies the dramatic element, also complemented by the heavy and distorted bass line. The album Colored Sands is broken in two at half by a five-minute symphony that the greatest composers would be proud of, one such as Luc Lemay who turned music study into a sacred phenomenon.

Riffs like those from the sixth song, Enemies of Compassion, are the elements that draw the victims into the vortex. They are catchy as hell and really well found. These new album includes a few progressive passages that fit really well in the overall picture, and the final song is the band’s avantgarde summit. It is hard to say whether the album’s songwriting is ascending or descending, as it is dominated by a bizarre and variable atmosphere, but this is an effect of complex inventions. While the dynamics decrease on the second half of the album, as it may seem, simple tones and desperate vocals keep the heart rates increasing.

Despre Colored Sands s-ar putea spune că a atins ceea ce nu au reuşit cei de la Deathspell Omega să continue după albumul Si Monumentum Requires, Circumspice, sau după EP-ul Kénôse. Probabil ca francezii să fi “beneficiat” de o eroare care i-a ajutat să redea iluzia întunericului.

Gina S. Nota: 8