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Puteraeon – The Cthulhian Pulse – Call From The Dead City

Puteraeon
The Cthulhian Pulse – Call From The Dead City
by Quinten Serna at 27 September 2020, 5:24 PM

“…someday the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age.” Lovecraft himself was a man split between disenfranchisement and revelation, creating and contorting worlds of horrors whose hallowed reach influences the denizens of today and beyond. PUTERAEON is once such entity whose album, “The Cthulhian Pulse – Call From The Dead City” pays homage in insidious sincerity through title alone.

Just as “Horror In Clay” entitles the beginning of the Lovecraft’s revered opus THE CALL OF CTHULHU so too does it open up this album, presenting itself as prelude to the album where “The Sleeping Dread” immediately joins in at the close of the segue—the song tells the story of the appearance of the visage of the city of R’yleh and deep within its depths the woken slumber of Great Cthulhu himself, The Sleeping Dread. “Nameless Rites” cuts itself from its predecessors by beginning with immediate headbanging haste, the song goes on to express the incantation whose charge it is to awaken Cthulhu from his eternal slumber. “Call of R’lyeh” commences with a  cool and mellow anguish presented by clean rhythms prior to becoming completely overtaken by distorted rhythms as they induct the vocals; the song describes the compelling embrace of the city of R’lyeh and its unearthly construction. The final track upon the album, “The End Cometh” details in striking and commanding tones the end of humanity’s free will and shared interpretation of sanity, whereas when the formerly deceased giant walks, all shall heed the Call.

The conception behind the music is of elements and literature I revere in great strides, as do a great many others still taking influence in regards to Cosmic Horror. The music presented by the band is teaming with tension and strife which embody the themes Lovecraft wrote about nearing a century ago. The guitars are crispy and unnerving as they ring out in just a tinge of conflict and disharmony as if being out of tune by just a minute amount; the bass is commanding and appears at the forefront of every rift filling out the lower end and creating a wholesome element of fervor beneath the madness that is the rest of the instruments; the drums are relentless, driven, and match in perfection the tone of the riffs; the vocals are bitter, biting, and blasphemous at times idealizing the struggle for sanity.

This album is the astonishing amalgamation of Lovecraft and Death Metal treading down a path few ever do take; though the compositions do little to vary greatly the subtleties are enough to prevent a semblance of sameness. For anyone with any manner of reverence for the literary contributions of H. P. Lovecraft, or with a genuine interest in Death Metal this album strikes a match with either distinction.

Songwriting: 7
Musicianship: 8
Memorability: 8
Production: 8


4 Star Rating

Tracklist:
1. Horror In Clay
2. The Sleeping Dread
3. Permeation
4. Nameless Rites
5. The Curse
6. Legrasse’s Puzzle
7. Into The Watery Grave
8. Call of R’lyeh
9. Terror At Sea
10. The End Cometh
Lineup:
Daniel Vandija – Bass
Anders Malmström – Drums
Jonas Lindblood – Guitars and Vocals
Rune Foss – Gutiars
Record Label: Emazipation Productions
     


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