Year : 2020
Style : Death Metal , Thrash Metal
Country : Switzerland
Audio : 320 kbps + all scans
Size : 116 mb
Bio:
Messiah is an extreme metal band from Switzerland.Messiah's debut album, Hymn to Abramelin, was released in 1986 through Chainsaw Murder Records.Their second LP, titled Extreme Cold Weather, came out in 1987 and was re-issued on CD three years later by Nuclear Blast. The release also contained the band's debut album.[citation needed] The band then managed to sign to a German major metal label, Noise Records, which released their next album, Choir of Horrors, in 1991. Messiah released two more albums, Rotten Perish and Underground, through Noise, but disbanded in the mid-1990s.The band reunited for a show in 2003. Afterwards, the band stated they have no desire to reunite.Reunion, Fatal Grotesque Symbols - Darken Universe EP, and Fracmont (2017–present) At the end of 2017, the band was asked by a friend and concert promoter to play a few secret shows in Lucerne, Switzerland. The band accepted, and following the shows, decided to start writing a new album in the beginning of 2018.In June 2020, the band announced an EP titled Fatal Grotesque Symbols – Darken Universe will be released on August 7, and that a full-length album titled Fracmont will be released a month later on September 11, the band's first studio album in 26 years.
Album:
Nostalgia has been a formidable force in defining many of metal’s most recent offerings, regardless of the sub-genre under consideration. However, there has been a notable string of truly astounding returns by bands thought long gone from the game of late in the old school death metal realm, with such iconic pioneers as Possessed and Nocturnus A.D. being the most auspicious examples of answering decades of studio silence with a colossal new classic in the old style to put a new generation on notice. Another consequential, albeit lesser known figure from the glory days when death metal’s borders were less clearly defined and often intermingled with those of thrash was Switzerland’s Messiah, who have likewise been absent from the scene for about 25 years and have come roaring back for another go at shaking the earth to its very pillars with a combination of pummeling riffs, crushing beats and an archaic brand of vocal ferocity straight from the early 90s Florida scene.While originally cutting their teeth on the stylistically fluid and extreme thrash metal sound originally staked out by the likes of Hellhammer and Venom; Messiah would become best known for a more impact-based mode of death/thrash in the early 90s that was fairly similar to the contemporary exploits of Death, Merciless and Protector. Much of this owed to the acquisition of vocalist Andy Kaina, whose agonized shouts and deep barks bore an uncanny resemblance to that of Chuck Schuldiner, though one would be remiss to discount the change in musical direction that came along with it. At their creative peak, this quartet would release a highly ambitious conceptual LP dubbed Rotten Perish that incorporated a similar aesthetic to Death’s Spiritual Healing and merged it with a more theatrical and occasionally symphonic character to masterful results, helped along in no small part due to the mixing work taking place at the legendary Morrisound Studio in Tampa Florida.Following a recent period of rekindled interest in old school death metal, the time was right for the same lineup that created the aforementioned 90s death/thrash swansong to reform and pick up where things left off, mercifully forgetting the failed incarnation that followed and produced the lackluster dud Underground. Thus stands Fracmont, another brilliant foray into the same signature mix of old school aggression and nuanced songwriting with a side of theatricality that birthed Rotten Perish, to the point where the former could be seen as a continuation of the latter. Kicking off with a dreary acoustic guitar line that flows into an ominous array of choral chants and orchestral sounds, this album’s overture “Sacrosanctus Primitivus” could itself be the intro music that plays to the opening credits of a Hollywood thriller. What follows can be best described as one of the more ambitious displays of epic songwriting and proficient old school thrashing and grooving to come about since the style began its recent comeback.Good albums will take care to make sure every base is covered, while great albums throw caution to the decrepit winds while still doing the same, and this 10 song opus definitely takes the latter approach. Following the aforementioned opening instrumental, this quartet lays down a massive 9 and a half minute epic crusher of an anthem in title track “Fracmont”, cycling through a series of slow-grooving and blistering thrash sections seamlessly, all with a sense of gradualism and poise that is near flawless. Possibly the only drawback here is that this song would seem an impossible act to follow, but slightly shorter epic numbers such as “Morte Al Dente”, “Children Of Faith” and “Throne Of Diabolic Heretics” come close to matching the title song’s versatility, with the latter being the most intense offering when not musically quoting the “Ave Maria”. Other standout moments such as the shorter, faster, and more overtly death metal-styled brutality of “Singularity” and the slightly busier riff monster “My Flesh, Your Soul” also make a highly impressive showing.As far as reunion stories go, this is among the more impressive ones to come out of the death metal scene in the past decade, and definitely produced one of the best albums to come out in the old style this year. Between the dry, yet meaty character of the production that results in an almost perfect middle ground between modern techniques and the archaic ones developed by Scott Burns decades ago, and a performance out of every player that sounds like they were time-warped from 1992 to the present day, this is the sort of throwback album that rivals all of the recent comeback stories noted previously. But more so than anything else, it’s an exercise in proficient musical storytelling, often holding back on the frenzied bursts of speed and technical mayhem until just the right moment, and then shifting gears about as quickly to continue painting an elaborate picture of woe and dread. Those seeking after a stroll down memory lane where it connects with 1991 Tampa and Stockholm will find a mountain of it here, but also a highly ambitious monument to a style that is as powerful today as it was then.
Line Up:
Andy Kaina - Vocals (1990-1994, 2003, 2017-present)
Brögi - Guitars (1984-1988, 1990-1995, 2003, 2017-present) - See also: ex-Cruise Missile, ex-Mourningside
Patrick "Frugi" Hersche - Bass (1990-1992, 2003, 2017-present) - See also: ex-Amon, ex-Creepozoid, ex-Succubus, ex-Mourningside, ex-Chapter Seven, ex-Requiem, ex-Crypt, ex-Siueforses
Steve Karrer - Drums (1990-1995, 2003, 2017-present) - See also: Gurd, ex-Curare, ex-Infected, ex-Pulver, ex-Mirto Massaker
Tracklist:
01. Sacrosanctus Primitivus 02:15
02. Fracmont 09:39
03. Mort al dente 06:34
04. Urbi et Orbi 04:36
05. Singularity 02:33
06. Children of Faith 06:34
07. Dein Wille geschehe 04:11
08. Miracle Far Beyond Disaster 02:37
09. My Flesh - Your Soul 04:09
10. Throne of Diabolic Heretics 06:15
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