Deyjandi Von (Outro)
Maik Weichert - guitars
Eric Bischoff - bass
Patrick Schleitzer - guitars
Marcus Bischoff - vocals
SHALL BURN :
street date 26th April
preview - review by Elisabeth "elli" Kellner____
titles chosen from mythology seem to have a new fascination again these
days. After Atrocity named their latest album “Atlantis”, the first
major label album from the German Death Core band Heaven Shall Burned is
named after a woman from the Greek mythology. Antigone. Guitarist
Maik explains why they chose this title: “Antigone is the symbol for a
person fighting for freedom, putting humanity higher than royal laws.
She is following her beliefs rather than orders, even if it means her
own death.” Her acting can be seen as a metaphor
for the music and lyrics Heaven Shall Burn are writing. Instead of
drifting into fantasy they face the truth and thematize it, even if it
is on the public agenda at the very moment. Their new album is no
exception from this concept. Wars no one is
talking about any more but which take place all over this world,
fighting racism – Heaven Shall Burn are giving these topics a voice, a
voice for the voiceless as one of their songs is aptly named.
When starting the CD for the very first time I was very
surprised, even a bit irritated. Did I put the right CD into my player?
Instead of a wall of guitars and drums which I expected piano and violin
sounds are coming from my speakers. A very unusual method for a Death
Core band. Heaven Shall Burn worked together with the Icelandic
classical composer Olafur Arnalds. But hardly did I get used to this new
site of the band’s music when the heavy sounds hit me.
The Weapon They Fear stands in gross contrast to the soft and
quiet intro. Hard to get into at the first listenings with its
sudden changes from heavy, loaded bass-lines to a thriving double bass
drumming and then a very melodic middle part. Melodic – that’s one
of the main attributes one has to assign to this album. It reminds one
of the Sweden Death style although Heaven Shall Burn are not merely
jumping the bandwagon. The Hard Core influences and roots model this
Death metal style into a great Death Core style.
After my “starting problems”, with The Weapon they fear the following songs just catch me and I’m starting to mosh along while sitting on my desk. The double bass keeps grooving while the melody lines of guitars won’t leave my ears. Especially Voice of the Voiceless, my favorite track and Numbing the Pain, a slower but still brutal song with an almost doom-like atmosphere.
This album shows many facets of this band that will surprise many fans who saw the band on one of their gigs and saw, like me, the pure Death Core site. More melodies and harmonies are drawing the listener in now. And then, all of a sudden again, after the driving To harvest the Storm a first (yes, this album has two) outro, violins and piano again, moments in which to reflect only to be torn out of this moment of soliloquy by the riffs of Bleeding to Death. Even after a few times of listening these sudden changes catch one off guard.
not an album one gets used to very quickly, an album with loads of
things to discover.
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