Category: Metal / Gothic / Experimental
Album: Melana Chasmata
Blurb: Monolithic in its scope, monstrous in its fury, and melodic in its atmosphere, Triptykon’s latest album is a truly monumental musical achievement.
Though the specter of Celtic Frost may very well hang over him for the remainder of his career, Tom G. Warrior has not allowed it to hinder him in his efforts to create music that continues to explore the dark recesses of his mind. With Melana Chasmata, Triptykon firmly establishes itself as a truly singular entity unto itself; infusing virtually all points across the metal spectrum and emphasizing mood and atmosphere in a manner that freely incorporates more gothic and even industrial elements, the band and its music enter into a sonic and emotional territory that lives up to the avant-garde spirit Warrior has exhibited for over three decades.
As with the previous album, Eparistera Daimones, Triptykon demonstrates a propensity for monolithic song structures wrought with primal energies that transport the listener beyond the confines of most categories of metal. “Tree of Suffocating Souls” begins the proceedings as a shriek of guitar feedback leads into a miasmal onslaught of pummeling riffs and percussion, Warrior’s guttural roar punishing the listener with V. Santura’s screaming accompaniment, the latter’s guitar solos toeing the line between melodious precision and unhinged fanaticism. From start to finish, Melana Chasmata plunges the listener into an uncompromisingly bleak audio realm full of from the slowly creeping menace; from the tribal rhythms and ritualistic ambience of “Demon Pact” to the monstrous “Altar of Deceit” and the seething fury of “Breathing,” the sudden shifts in thrashing tempos being nothing short of purely vicious. And then there is the darkly introspective beauty of “Aurorae,” the shimmering melodic guitars hovering ghostlike above the Vanja Slajh’s arresting bass grooves, Warrior’s graven voice beautifully encapsulating its very words of “A spirit wasting away.” In a similar fashion, “Waiting” ends the album as Simone Vollenweider’s chant of “We are the same” like the faint echoes of a lost soul struggling to be heard from the bottom of the abyss, the song taking on a quality not unlike Black Sabbath’s “Planet Caravan” with a bluesy guitar solo. But the centerpiece of the album is the oppressively epic and aptly titled “Black Snow,” a brutal juggernaut of sonic cruelty and despair that serves as an effective thematic climax to the whole collection.
No less primitive, though showing a greater sense of refinement than the previous album, Melana Chasmata shows Triptykon’s evolution into a fully collaborative band effort. The dynamic between the band members to create a varied and darkly ambient space that is as grotesquely macabre yet as beautifully engaging as the late H.R. Giger’s cover art is simply impeccable. Triptykon’s music is not for the average metalhead looking to bang one’s head and dive headfirst into a moshpit; this is a subtler, more atmospheric, and dare I say more artistic brand of metal, one that makes Melana Chasmata a truly transcendental album.
Triptykon Website http://www.triptykon.net
Triptykon Facebook https://www.facebook.com/triptykonofficial
Triptykon Twitter https://twitter.com/Triptykon
Century Media Website http://www.centurymedia.com
Century Media Facebook http://www.facebook.com/centurymedia
Century Media Twitter https://twitter.com/centurymedia
Prowling Death Records
Ilker Yücel (Ilker81x)