CD REVIEW The Grotesquery

Band: The Grotesquery
Title: The Facts And Terrifying Testament Of Mason Hamilton: Tsathoggua Tales
Label: Cyclone Empire
Distribution: Sure Shot Worx
Release date: April 20th 2012
Review: CD

One of the projects by Kam Lee and Roger Johansson, The Grotesquery, return with the successor of Tales Of The Coffin Born, this project’s Cyclone Empire debut initially released in very early 2010. For the review (professionally written, of course, by undersigned) or the history of this project, I would like to refer to the review on Tales …, which was updated at March 13th 2010.

[Oh yes, do you need a more specific introduction on the two ‘founders’ of this act? …both involved with grotesque feasting-on-flesh-act Bone Gnawer, and both of them formerly and/or currently involved with super-projects from the deadliest pits of the metalized worlds: Lee with e.g. Massacre, Mantas / Death, Cauldron or Skincrawler -and recently active as guest on Sigh’s newest outburst of madness, and Rogga with, for example, Those Who Bring The Torture, Demiurg, Insision, Paganizer, Carve and many, many more]

When it comes to the lyrical theme on this new album (as well as the debut), you really need to check out some literature (check out, for example, C.A. Smith and H.P. Lovecraft, or Miskatonic chronicles on (the origins of) this subject… also findable on ‘the web’, and I’m not talking about any spider’s web yet the virtually technology that is both enriching as well as apathising our stinking globe). It’s the most beautiful Horror you can imagine, and the border in between reality and phantasy, or the equilibrium sanity-insanity is of divine perfection. Wonderful stuff for Horror freaks!

From ‘musical’ point of view (hehe, what’s in a word?), The Facts … goes on in the vein of Tales … The Facts And terrifying Testament Of Mason Hamilton: Tsathoggua Tales stands for a certain standard on brutal, extreme, bloody and gore Death Metal from the Old Skool, highly inspired by both the American and Swedish scene from the eighties and very early nineties. However, when it comes to the sound, it isn’t just ‘primitive yet of a highly acceptable modernized quality. Nevertheless, the basics are concentrated on the foundations of this musical Beautiness, including the differentiation in tempos and structures, and the cohesive and coherent focus on balance and atmosphere – the latter showing its most ugly and scared / scarred face. It does smash and destroy, yet with an ingenious melodicism in performance (with a handful of unique excerpt, by the way!). Contradictions to confuse and to please on purpose at the same time, I guess… It’s like longing for unrest in some asylum, the masochistic way, and detesting this well-appreciated lack of so-called freedom at the same time. Damn, what an ideal translation or definition on the lyrical approach; never (or not that often) undergone such a sublime equilibrium between lyrical concept and audible execution. The Grotesquery, however, succeed to elaborate it with grandeur and, well, grotesquery. …again!


Ivan Tibos.