consider, that you are not right. assured..
consider, that you are not right. assured..
Zimniak is missing compared to "Wanderers on the Edge of Time" and "Intersections" and the band is left with one guitar player. In some ways, their 11th studio album comes out as a blend of the and releases in that it marries the raw power and the extreme of the former with the more refined, melodic character of the second. A marked improvement, especially compared to "Lurking Fear", is the powerful, mature production. Apart from that, "In a Mirror Darkly" is what you would call a typical Mekong Delta album, with plenty of their signature tech-thrash e.
The Armageddon Machine , a couple of impressive, varied instrumentals with the welcome inclusion of acoustic guitars and classical interludes, and a few not surprisingly! Lemar seems to have glued well with the style of the band and his vocal performance is at times impressive.
The characteristic dissonant chords dominate the length of the album and it is fair to say that the melodic aspect has taken a step back, although Hubert does not seem to deviate too much from the classic Mekong Delta song-writing. What I feel the album might be lacking is the grandiose of the "Wanderer As it stands, it is another solid release from Mekong Delta, worthy of its legacy. Review by Warthur Prog Reviewer. By track three, though, the unique aspects of the band are kicking in with "The Hut of Baba Yaga" eschewing fury for progressive flair and some classical influences, while "Heroes Grief" goes for outright gloom, enhanced with a bit of unobtrusive keyboards.
There's also the tune "Black Sabbath" that's a pretty amusing ode to the band with the numerous name-checks to Sabbath tunes in the lyrics. The overall sound is heavy yet murky, which heightens atmosphere at the expense of clarity for some of the faster riffs, but in this case it was probably the wiser choice since at this early stage the band were really just thrashing out much of the time in bullet-belt donning fashion, and the bit of haze gives the album a bit of a horror vibe that works in its favor.
The band would opt for much more progressive and technical workouts concerning later output, but as a full- fledged thrash release in the 80's, it remains one of the more interesting ones, certainly concerning the year of its release. Review by Conor Fynes Prog Reviewer. Their style of thrashy progressive metal exuded the influence of many a composer, particularly those with a darker sound to their orchestral observations.
When it came to actually performing classical music however, the band up to this point had more or less limited themselves to using neoclassical tricks within their metal context, even doing a cover or two.
Although some may go to criticize the band for never going as far as to use a real-life orchestra in its recording, few albums within the 'thrash metal' umbrella have engaged me so much. Throw in a few pieces of cerebral prog metal to flesh things out, and you have a piece of work that would make the old giants of progressive rock proud. Although 'Suite For Group And Orchestra' is planted right in the middle of the album, there is still a clear division here between the ornate classical 'epic', and the more traditional songs.
Although the complex vocalizations at the end of 'Them' declare that he is definitely has the ear for singing, his vocals have a tone to them that would fit much more comfortably in prog rock rather than thrash. The classical aspect of 'Visions Fugitives' is without a doubt the most important part of the album. Though the four progressive metal songs are too worthy of being deemed masterful in their composition, 'Suite For Group And Orchestra' takes up a damned half of the record, and a listener's appreciation of the record will brink largely on their openness to heavy metal being crossbred with classical music so openly.
This is the case with 'Suite For Group And Orchestra', an elaborately composed twenty minute piece worthy of the highest commendation. Here, MEKONG DELTA mimic the atmosphere of Romantic-era classical music rather than the erudite complexity of composers before, the result being a piece with plenty of epic melody and variety, not to mention a fair deal of room for the band to incorporate their rock instruments into the fray.
The soothing acoustic 'Introduction' leads into an eerie 'Preludium', complete with low horns and eerie bells to make it sound like something out of the haunted mansion in Super Mario Brothers. In terms of flaws, the use of a computerized, or 'fake' orchestra may not hurt the compositions or music, but there is always the feeling throughout listening to 'Visions Fugitives' that things could be even more impressive, had the band had the resources to make a full orchestral rendition of their music a reality.
A less-than-excellent production quality carries over to the prog metal songs as well, with the vocals sounding somewhat muffled and less mixed than they rightfully should have been.
The track was included twice; the first 16 tracks are played by the band, while the last 16 tracks include the band and orchestra. Because the album is completely instrumental, Doug is not mentioned on the album.
In and the first six studio albums were remixed by Erik Adam H. Some albums were sonically improved, others were hardly changed. After this the band went on a long hiatus. Rumors started circulating [ citation needed ] that Hubert had fled to Greece or Turkey , or even that he had died.
At the end of Hubert was brought in contact with guitarist Peter Lake from Swedish metal formation Theory in Practice and the project restarted. At first Peter Haas agreed to return as drummer of the project, but he later resigned.
Erstwhile member Uli Kusch stepped in as drummer. A singer was being sought after and enough material seemed to be ready for a new album. This line-up recorded the album Lurking Fear , which was released on August 31, This was the second of the band's albums to be named after a story by H.
Lovecraft , the first being 's "The Music of Erich Zann". Due to the busy time schedule of the members, planning tour dates became virtually impossible. Halfway through , Ralf decided to look for members who were able to tour with the band.
The product however, is truly an awesome experience for your ears. The riffs are probably the highlight of this album. The riffs are unbelievably complex and unbelievably catchy I couldn't pull myself from this album.
It grows quickly. Many people may be put off by the unique sound, but give the album a few plays and it will soon be stuck in your head. Some of the most memorable riffs are in "Beyond the Gates". The riffing in that song is pure genius. The vocals and the drumming fit perfectly with the riffs.
Along with the furious riffing, the album is complemented by sudden The solos in every single one of the tracks are twisted genius. Then, after the title track, there are three other awesome tracks. Transgressor is a real thrasher.
The song seems to follow a bit of a thrash formula, with gallup riffs, but also with random tempo changes, and weird melodic breakdowns. Hell, the song is completely fucked up, but in a good way.
True Believers is strange, just like Transgressor, but it also has a great chorus. Then comes Night on a Bare Mountain, a cover of a classical song by Mussorgsky. Again, twisted genius. Transgressor True Believers Night on a Bare Mountain Total Time: We have here more or less thrash music with a few dynamics to keep the listener from being bored, however, one can clearly sense that the best song is Night on a Bare Mountain by Mussorgski, as the songwriting from the band is not nearly as refined.
The vocals are typical 80's metal vocals, and I can't say that this is a good thing, as it makes some of the tunes cringe worthy. Normally I am not a big fan of adaptations of original works, however, for some strange reason, the adaptation of Mussorgsky's work is well done and the highlight of the album. I would say get the album for this one song, for it is really entertaining and gets you moving and grooving and what not.
Other than that, there isn't much here besides fairly standard thrash. The early releases from MEKONG DELTA were quite enigmatic, the identities of the band members were kept secret and they played a very mysterious dark kind of technical thrash metal unlike much else that was around at the time and on top of that they adapted works from Russian composer Modest Mussorgski with thrash instrumentation creating a unique brand of music that has yet to be paralleled although their albums left a lot to be desired and reeked of potential that was yet to be fully realised.
Here on Dances of Death we see in part a realisation of that potential with some cohesive and varied songwriting. Things start off on a real high with one of the first and only tech-thrash epics, the title track clocks in at nearly 20 minutes and is a very challenging yet rewarding listen, packed full of great riffs and intensity, it doesn't let up until the end with angular riffs, double kick and syncopation pummeling the listener.
The real gem on the crown of this album is the arrangement of Mussorgski's 'Night on Bear Mountain' which is an amazing adaptation into the thrash metal format with surprising dynamics and amazing instrumentation featuring a completely bitchin' solo and a soothing a fitting acoustic guitar outro. This is fairly essential listening for any thrash fan particularly given the rarity of thrash epics off hand I can't even think of one besides Dances of Death let alone one of such quality.
After having a very positive experience with Mekong Delta on their fifth album, Kaleidoscope, I have decided to increase the ammount of albums by them that I own, acquiring at one time Dances of Death, Vision Fugitives, Lurking Fear and Wanderer at the Edge of Time and I must say that, with the exception of Lurking Fear, all those releases were nearly incredable, quality-wise, but Dances of Death and Other Walking Shadows had a really special quality: in spite of still having separate instances where they played progressive thrash metal and then metal arrangements for classical pieces the second half of the album , they were able to step-up their business and come up with an epic that managed to merge those two parts of their music.Dances Of Death (And Other Walking Shadows) is a music studio album recording by MEKONG DELTA (Tech/Extreme Prog Metal/Progressive Rock) released in on cd, lp / vinyl and/or cassette. This page includes Dances Of Death (And Other Walking Shadows)'s: cover picture, songs / tracks list, members/musicians and line-up, different releases details, free /5(6).