Review by criscool623 on March 20, 2021.

Owing that I've been immersing myself into doom-black metal style (thanks to that Krigsgrav album I reviewed no long ago), I decided to revisit the album that started everything: the first Katatonia full-length release.

I'm conscious of the popularity that Katatonia has nowadays, as they have a pretty solid fanbase that follows their career and listens actively to their music. However, and due to the change of style they made from their 3rd album, I'm not interested in that facet of the band. As well, I won't be one of those guys that tell things like "This is the best Katatonia album and everything they made after is bullshit" as I don't have bases to claim this; my only aim is to visit the origins of one of the most peculiar subgenres of metal and see what make this album special and important in this style: the so-called "depressive black metal" (also, I'll base in the 2004 version; despite the band is against this version, we must admit this: the album cover is great).

Since the first listening, I was pleased, as there are so many elements that make this album special and unique.

One of the first notorious elements in this release is the agonic and howling voice of Lord J. Renkse, which is chilling, but gripping at the same time. For some reason, this album is catalogued as a death/doom metal release, which I find strange, as I can't find even a bit of the characteristic growls of death metal; instead, the voice goes toward a more shriek and harsh approach that gives that feeling of desperation, agony and emotional bitterness that characterise a depressive metal band. I heard a rumour that the use of this particular vocal style was the main reason why the band changed their style later, as the singer damaged his voice when singing like this, and if this is true, it's a shame, but his voice remains as one of the first vocal works using this particular singing style, so painful and piercing.

The riffs are really heavy but are added with much melodic stuff that makes the experience more pleasant. In essence, this is a doom metal release; the style reminds me of a band like Candlemass or Agalloch (with those heavy, slow and catching riffs), but with a lot of melodic elements that give another totally different atmosphere to the band and the music; much more heavy, pessimistic, dark and distressing (aspect that is reinforced with the agonic vocal style). The use of arpeggios, minor-scale guitar melodies (sometimes harmonised) and subtle keyboards in selected sections of the album are what makes this album so rich in melodies and gives that sense of sorrow and pain that immerse the listener into a really dismal atmosphere. I may be ignorant on this topic, but I dare to say this is one of the first bands in metal that portrayed such a pessimistic and dark atmosphere, and this is what gives merit to Katatonia.

As to the instrumentation, I can't do other things but eulogise the drums execution, which is outstanding. In addition to his voice, Renkse makes a solid performance on the drums, adding his own personality with several fills that make the music not feel repetitive at all; on the contrary, this aspect strengthens, even more, the intensity of the music. Also, the bass guitar performance is excellent; although the main instrument here is the guitar, and even with its sharper sound than usual in this kind of genre, the bass guitar successes in giving more body and background to the general sound of the album. It's a delight having such talented musicians performing this majestic music.

The lyrics are very poetic and suit perfectly with the music presented. I'm not the kind of person who pays attention to the lyrics as I'm more interested in the musical proposal, yet the lyrics are very appropriate to such the dismal sound that the band portrays: references to death, desperation, suicide and mourning can be found in the album, and the fact that they are performed with such a painful voice like this one makes them perfect and gives a real sensation of despair and abandonment.

Yes, you're right. Maybe I'm sounding quite repetitive and redundant in telling how "sad" and "dark" the album sounds, but that's the actual mood that the album transits to the listener, and this is what makes Dance of December Souls an important release since this is one of the first releases in which such feelings could be depicted in metal and even with that, the music feels strong, convincing, but very honest and full of feeling. This album is a precursor of what would be called "depressive black metal" in a future due to the beauty of the melodies, the feelings they convey and that characteristic voice that evokes this feeling of desolation and frailness, and this is what makes it a classic.

The only negative aspects I could mention are some riffs that does not feel totally depressive and sound more to something that bands like Candlemass or Pentagram would play, making the mood of the album feel interrupted; specifically, I found this kind of riffs in the last two (real) tracks of the album ('Velvet Thorns' and 'Tomb of Insomnia'); when you hear these tracks, you'll note what riffs I'm talking about. Also, the album finished quite abruptly, and for such a grand album like this, a more subtle ending would have been better to give a more worthy conclusion. My personal favourite tracks are 'In Silence Enshrined' and the outro 'Dancing December'; the first one for its beautiful keyboard-harmonised section and the latter one because it has a really depressing tone; two minutes were enough to make me feel really miserable, and that's something I wanted to highlight.

In conclusion, Dance of December Souls is a masterpiece. It's one of the definitive precursors in depressive metal and a release that deserves a place amid the best doom metal album of all. I found some improvable aspects, but they don't demerit the work done by the band at all. As I said, I have zero interest in Katatonia's more modern music; I prefer having them like the creators of doom/black metal instead of disappointing me because of the way they took later. Long live Katatonia and thanks for such this beautiful musical oeuvre.

Rating: 9.9 out of 10

Review by Chris Pratl on December 2, 2017.

Immolation's Kingdom of Conspiracy, allows me, once again, to tap into my more sadistic and brutal side (as if I need an excuse). This band has never issued a clunker in more than 20-years going, and that sickening line continues here in just over 40-minutes of truly terrific death metal, New York style. 

There's just a very strong 'typicality' to that New York death metal sound, and Immolation has it in every conceivable area, which is a thick, almost Swedish sound that differs mainly in the clean and crisp production the Americans so covet. With Kingdom of Conspiracy the band adds another winning notch to their already battered and hole-punched belt. That same thick sound is what keeps the fan base angrily pumping clenched fists and permanently affixing scowled faces all across the planet. 

What sets Immolation apart from most other U.S. death metal bands is that underlying 'evil' tone to every album. Sure, there's a certain malevolence to every DM album and band; it's almost obligatory, really, but Immolation's tonal disease seems to be so natural and consuming that it just sets them apart from their contemporaries. This is very much your father's Immolation, with riffs so potent and tempestuous they could dent rusty steel girders. The opener “Kingdom of Conspiracy” peels skin from your forearms like random pieces of wax paper, slowing ever momentarily to shock the system and fool the minions of fringe design with solid, groovier guitar lines. It's the perfect start to a record, and as with every Immolation record the overall heaviness is second-to-none. I've always described the band's music as an avalanche of rocks just tumbling from a reef at breakneck speeds and decimating everything in sight. There is a certain pace to this record that seems a bit faster and riff-heavy, and that makes for a very happy audience because we've come to expect this sound from Immolation, and deviating from it would be catastrophic and out of line with the band's style. However, the 'slower' areas of the album are certainly welcome and expertly handled throughout, especially in “The Great Sleep”, which causes the head-bobbing to repeat for the entire five-minute-plus duration. Call it a nice break in the day, if you will. 

The signature sound of total wanton ugliness emits from every track on this record. “Bound to Order” and “God Complex” find the famous formula and filter it through the amps with pinpoint expertise, defining just what makes sickening heavy metal music. I particularly like the time changes and smooth shifting in “God Complex”, which is one of the endearing traits of the band. Rather than simmering in some self-made rut of familiar chords, Robert Vigna and Bill Taylor take great pains to create some truly sadistic-sounding riffs for you and I to consume, and that's not an easy undertaking after all of these years where everything has been done to virtual death. When you're recovering from that little slab of scaled intensity, “Echoes of Despair” rummages around and bounces off the cranium walls with all of the trepidation of a stable of spooked wild horses. Never to be outdone, Ross Dolan growls and finger picks his way through one brutal track after another. Steve Shalaty still offers a drum-fueled eulogy fit for fight, and I especially favor “Indoctrinate” with its speedy and concise pattern that goes from 10 to 90 in mere milliseconds. We're fortunate to be able to claim these guys as our homegrown masters of the genre. Immolation provides, without fail, a sound so agonizingly volatile that only total and complete submission will suffice. 

Without going on any additional long-winded, analogy-filled sentences, if you love Immolation, you most certainly will find the newest offering a maniacal piece of festering filth. This band is one of the last death metal legends that has yet to commit one single faux paus in its storied lineage, and for that I'm ecstatic and appreciative. 

The band is currently on tour in the States; get out there and see them!

Rating: 9 out of 10

(Originally written for www.metalpsalter.com)