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│ METAL CLASSICS ARCHIVE │
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│ P R E S E N T S │
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│ + Attic - Sanctimonius-(VAN220) + │
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│╔═════════════════════╗ │
│║ Release Information ║ │
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│║ ║ │
│║ Release Date.Oct-21-2017 Encoder......L3.98.4 -V0 --lowpas ║ │
│║ Genre........Heavy Metal Graber.......EAC ║ │
│║ Year.........2017 Khz/Bitrate..44,1/ Br ║ │
│║ ║ │
│║ Ripper.......anthem Songs........13 ║ │
│║ Covers.......Yes Url... n/a ║ │
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│╔═════════════════════╗ │
│║ Release Notes ║ │
│╠═════════════════════╩══════════════════════════════════════════╗ │
│║ ║ │
│║ Artist : Attic Rating : You Decide! ║ │
│║ Album : Sanctimonius-(VAN220) Label : VAN ║ │
│║ ║ │
│║ ║ │
│╠════════════════════════════════════════════════════════════════╣ │
│║ ║ │
│║ Description : ║ │
│║ ║ │
│║ ThereÆs a short version of this review that goes ║ │
│║ like this: King Diamond and Cradle of Filth can ║ │
│║ fucking eat it. The reason why those two well- ║ │
│║ respected bands need to get Sanctimonious into ║ │
│║ their cake-holes as soon as possible is because ║ │
│║ Attic have managed to do exactly what those ║ │
│║ bands have been doing for decades and, frankly, ║ │
│║ wiped the floor with almost everything they have ║ │
│║ released. ThatÆs not to say that listeners will ║ │
│║ be tipping their copies of Abigail and The Eye ║ │
│║ into an incinerator any time soon, nor that ║ │
│║ CoFÆs latest Hammer of the Witches was anything ║ │
│║ less than astonishingly vibrant, but more to ║ │
│║ emphasize the fact that Attic have accepted all ║ │
│║ of the worthy features from those two bands, ║ │
│║ addressed the problems with the style, and come ║ │
│║ up with something that need not be embarrassed ║ │
│║ to stand among the best in occult metal. ║ │
│║ ║ │
│║ The influence from King Diamond and Mercyful ║ │
│║ Fate is extremely obvious, copying from the same ║ │
│║ blueprint of melodic riffing accompanied by ║ │
│║ plentiful sinuous leads, storytelling drama that ║ │
│║ arrives by way of a plethora of vocal ║ │
│║ gymnastics, and a dark, occult tone running ║ │
│║ through the whole thing. However, Attic are not ║ │
│║ direct imitators of the style forged by those ║ │
│║ bands in the 1980s, modernizing elements of the ║ │
│║ sound, such as the more forceful riffing that ║ │
│║ crosses over into thrash and black metal on ║ │
│║ several memorable occasions, the infrequent use ║ │
│║ of blastbeats, and rather more extensive song ║ │
│║ structures that bear some resemblance to the ║ │
│║ theatrics of HellÆs Human Remains. In those ║ │
│║ distinctions between these Germans and the ║ │
│║ Danish source, Cradle of Filth may well be the ║ │
│║ factor to fill the gaps, owing to the bandÆs ║ │
│║ more extreme sound, knottier songwriting, and ║ │
│║ also the last point on which Sanctimonious ║ │
│║ resoundingly succeeds - its religious concept. ║ │
│║ ║ │
│║ As concept albums go, there are more examples of ║ │
│║ utter failure than of total success and the two ║ │
│║ aforementioned influences are renowned for ║ │
│║ dividing listeners on the strength of the topics ║ │
│║ chosen for storylines in particular albums. The ║ │
│║ cheesy horror of King DiamondÆs ôThemö or the ║ │
│║ overwrought erotic satanic gore of Duskàand Her ║ │
│║ Embrace are two examples that make Sanctimonious ║ │
│║ towering by comparison, even though the notion ║ │
│║ of evildoing and persecution in a convent might ║ │
│║ be nothing new. Notwithstanding that ║ │
│║ familiarity, Attic manage to twist the concept ║ │
│║ around the music rather than vice versa, leaving ║ │
│║ every single song with memorable features, ║ │
│║ including intelligently chosen choruses, and ║ │
│║ neither overdo the lyrical poetry nor yield to ║ │
│║ humdrum simplicity. Importantly, the narrative ║ │
│║ sacrifices little that might be sought in ║ │
│║ conventional songs, the pacing of the music ║ │
│║ proving exciting regardless of the story and ║ │
│║ only the brief ôScrupulosityö needing to include ║ │
│║ narration to bridge a gap between songs. ║ │
│║ ║ │
│║ Another reason for the albumÆs success and also ║ │
│║ an adequate apology for the narration is the ║ │
│║ incredible performance of Meister Cagliostro, ║ │
│║ who was clearly possessed by the spirit of King ║ │
│║ Diamond from an early age and probably ║ │
│║ outmatches the great Dane in ability. He peels ║ │
│║ off the voices of various characters without ║ │
│║ significantly aping any particular speech ║ │
│║ rhythms or adopting a musically unsatisfactory ║ │
│║ style: much of his work is done in high ║ │
│║ register, wailing and shrieking with alarming ║ │
│║ power during æPenalizedÆ, while his mid-range ║ │
│║ can be slightly thin and snarling, suiting the ║ │
│║ dark themes down to a tee, though his lyrics ║ │
│║ remain clear throughout. By his contribution, ║ │
│║ the story gains not only the requisite sense of ║ │
│║ drama but also an immediacy and visceral appeal ║ │
│║ that ensures the vicious conclusion hits with ║ │
│║ full force. For those afraid that Cagliostro ║ │
│║ might be too much to stomach, I must admit to ║ │
│║ finding some slightly ridiculous vocals when in ║ │
│║ the very high registers, though these are ║ │
│║ thankfully few and are mediated by more measured ║ │
│║ moments, such as the calmer chorus of æDie ║ │
│║ EngelmacherinÆ. ║ │
│║ ║ │
│║ If Sanctimonious were merely an album about a ║ │
│║ fantastic lead singer, it might still be ║ │
│║ difficult to get excited about, yet there is ║ │
│║ barely a complaint to be made about the ║ │
│║ remaining four members of the band. Good riffs ║ │
│║ are as abundant as horrible punishments in the ║ │
│║ convent, the two guitarists giving extra bite to ║ │
│║ æPenalizedÆ and æBorn From SinÆ, not to mention ║ │
│║ their melodic mastery during æA Serpent in the ║ │
│║ PulpitÆ and æThe Hound of HeavenÆ. The rare ║ │
│║ times when black metal influences arrive are ║ │
│║ potent and well-chosen, those being the main ║ │
│║ riff of the opening title track and towards the ║ │
│║ storyÆs denouement in æBorn from SinÆ and æThere ║ │
│║ Is No GodÆ, when the genreÆs associations with ║ │
│║ Satan and evil are certainly fitting. Leads are ║ │
│║ not highlighted to such a degree as in King ║ │
│║ DiamondÆs recordings, though this is sensible ║ │
│║ given the extensive nature of some of the songs; ║ │
│║ nevertheless, the solos are nothing to be ║ │
│║ sniffed at and some of the melodies are ║ │
│║ excellent. As might be expected from such a busy ║ │
│║ and melodic listen, the rhythm players have less ║ │
│║ to do during Sanctimonious, although manage to ║ │
│║ keep the entire experience energetic and ║ │
│║ diverting despite the album running to more than ║ │
│║ an hour. ║ │
│║ ║ │
│║ Such a listen, where the average song length ║ │
│║ totals around six minutes, would present an ║ │
│║ issue with tedium in many cases, though the ║ │
│║ clearest mark of AtticÆs quality is that nothing ║ │
│║ becomes boring and there is little in the way of ║ │
│║ filler material besides the three short ║ │
│║ interludes; however, even these do little ║ │
│║ damage, being placed in moments of calm during ║ │
│║ the plot. æDie EngelmacherinÆ and æDark HosannaÆ ║ │
│║ are wisely positioned, the former ending the ║ │
│║ first ôactö with nostalgic melodies and a ║ │
│║ repeated refrain, while the latter enters ║ │
│║ acoustic territory to lament the imprisonment of ║ │
│║ the main character, forming a brief respite ║ │
│║ before the storyÆs intense conclusion. Listening ║ │
│║ to the album out of sequence is a rewarding ║ │
│║ experience too, recommendations going to the ║ │
│║ intricate interplay of guitars and vocals in æOn ║ │
│║ Choir StallsÆ, the bitter and twisted ║ │
│║ æSanctimoniousÆ, plus the simply furious ║ │
│║ æPenalizedÆ, which is the most infectious song ║ │
│║ of the lot. ║ │
│║ ║ │
│║ In the rational world, away from the superlative ║ │
│║ nature of much of this album, small complaints ║ │
│║ can be made about the relative plainness of ║ │
│║ æSinlessÆ and the weariness shown in æBorn From ║ │
│║ SinÆ, though these are minor blemishes to an ║ │
│║ otherwise immaculately conceived occult ║ │
│║ disciple. If originality is no issue and melodic ║ │
│║ metal is your greatest temptation, this may just ║ │
│║ be your album of the year. If IÆm not still ║ │
│║ playing this every week in December, you can ║ │
│║ crucify me for perjury. ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│║ Meister Cagliostro - Vocals ║ │
│║ Chris - Bass ║ │
│║ J.P. - Drums ║ │
│║ Katte - Guitars ║ │
│║ Rob - Guitars ║ │
│║ ║ │
│║ ║ │
│║ ║ │
│╚════════════════════════════════════════════════════════════════╝ │
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│╔═════════════════════╗ │
│║ Release Tracklist ║ │
│╚═════════════════════╩══════════════════════════════════════════ │
│ │
│ 01 - Iudicium Dei [01:23] │
│ 02 - Sanctimonium [05:49] │
│ 03 - A Serpent in the Pulpit [06:48] │
│ 04 - Penalized [03:48] │
│ 05 - Scrupulosity [01:06] │
│ 06 - Sinless [04:37] │
│ 07 - Die Engelmacherin [07:45] │
│ 08 - A Quest for Blood [01:20] │
│ 09 - The Hound of Heaven [05:28] │
│ 10 - On Choir Stalls [06:38] │
│ 11 - Dark Hosanna [05:48] │
│ 12 - Born from Sin [05:41] │
│ 13 - There Is No God [07:59] │
│ │
│ Total Length : [64:10 minn │
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│ ╔═════════════════════╗ │
│ ║ Greetings To: ║ │
│ ╚═════════════════════╝ │
│ │
│ Too all people who contributes to make this │
│ archive of good music in a exceptional conditions │
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│ │
│ │
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