A Perfect Absolution (2012)
France, Listenable Records, Avant-garde Technical Death Metal
Finely intricate and immensely complex, Gorod’s A Perfect Absolution is a perfect progression. Bizarrely whimsical and free flowing, yet crushingly heavy and earthy… the album pounds with rocky technical death, but sails with free flowing song changes. Most noticeably, Gorod have recently acquired a certain avantgardeness, creating their own unique sub-sub-sub-genre: Avant-garde Technical Death Metal.
For example, visit the Pacific islands through the the funk/disco/mamba on parts of “Varangian Paradise;” or sink to a watery grave with the wavering funk/salsa groove to the guitar leads on “Carved in Wind.” A Perfect Absolution covers more ground more in three tracks than most bands do in as many albums. However, the makes perfect sense when combined with the concept. Here is an explanation of the lyrics from the creator of TDM, Rimmon:
“Generally they’re treat about the history of the Iskorosten siege (capital Derewlans – later Korosten) in Ukraine and the cult of Perun in Rus. Thus, for example, in the composition “5000 At The Funeral” we hear the story of 5,000 inhabitants burned alive in a bath Korostenia who were drunk with mead. In the first track “Birds of Sulphur” we learn about the tragic end of that town – when the Russians released pigeons with burning material fastened to their tails.”
Intrigued? You should be! I promise Rimmon’s words will enhance your appreciation of Gorod’s Avant-garde Technical Death Metal masterpiece. A Perfect Absolution will most certainly be occupying a top spot on my albums of the year list, and also paves the way for a band that will continue to expand the genre and lead by brilliant, bold innovative, and truly avant-garde example.
Author: Witness to the Void
Aside: The only thing that holds A Perfect Absolution back from a perfect score are the more standard tech-death moments, which come across feeling like the band is constraining themselves. Although some stability is good, certain songs (I’m pointing at you, “Birds of Sulphur!”) seem like the band was holding back and trying to stay a bit more death-like, perhaps to stave off skeptical naysayers of the more avant-garde moments. Embrace those diverse influences, guys! The stand-out tracks are the unusual and quirky ones!
For more information, check out Rimmon’s review of the album here: http://technicaldeathmetal.com/archives/2358