CD REVIEW Order Of Nine

Band: Order Of Nine
Title: Seventh Year Of The Broken Mirror
Label: Nightmare Records
Distribution: Connecting Music
Release date: 22/05/2012 (America), 25/05/2012 (Europe)
Review: CD

Order Of Nine once started under the moniker of Templar at the end of last century, and they did release one recording back then, called A Touch Of Winter’s Discontent (Hellion Records). After the band changed its name into the current one, and when signing a multi-album deal with Nightmare Records, some more recordings followed: Of Once And Future Kings, Season Of Reign and A Means To Know End. Order Of Nine did also contribute to tribute compilations: Queensryche and Black Sabbath. The early 2000’s were a difficult, agitated period for the band, which includes several line-up changes, yet also the passing of founding member Michael Chiccith. Yet the band never gave up and did continuously go on.

Seventh Year of the Broken Mirror clocks over an hour and the opening title track sets the tone for what this album stands for: melodic and emotive Metal which balances in between Gothic, Heavy, Progressive, (Traditional / Epic) Doom and Dark Metal spheres. It’s very varying again: vocals (both a warm, melodious voice (somewhat a shamanistic translation of an low-registered Geoff Tate / Ozzy Osbourne / Peter Steele / Paul DiAnno-symbiosis), and (occasional) guttural screams), tempo (from very sluggish to energetically fierce), musical approach (see the enlisted and related genres mentioned in the former sentence), excerpts (rhythmic and catchy parts, technical structures, epic pieces, etc.), and the addition of fiery guitar solos, piano parts, and so on. It sounds timeless for sure, both traditionally inspired and modern in approach, and despite the catchy implementation, it goes way beyond childish poppiness for sure. A few times, the band also introduces Thrash-elements (the label’s biography defines the band as a Thrash-formation, yet that’s just ridicule), and in that case it’s especially the North-American scene that comes to mind (Exodus, Megadeth and the likes), as well as a handful of so-called tremolo-pickings on guitar, turning one’s mind to some heavier USDM-acts.
As from the second part of the album on, I unfortunately start losing my interest to the utmost extent. The songs at the end are lesser attractive, even though never too drudgy or muzzy.

An hour might be too much (at least, this goes for me; I don’t know, and as a matter of fact I don’t care, about you).


Ivan Tibos.