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██▌ Artist...: Amboss ░▐██▌
░▐██ Album....: Those Who Have Lost the Right to Exist ░██▌░
▓▐██ Year.....: 1993 ▓▐██▓
▓▐██ Rel.Date.: 2021-01-16 ░▐██▓
▐██ Genre....: Death Metal ██▌░
░ ██▌ Label....: Crypta Records ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. Reign of the Moon (Or the Symphonies of Sarajevo) 6:39
2. Suicidal Overdose 6:47
3. Lost... 2:50
4. Common Sons 3:25
5. Christian Damnation 4:16
6. Maze of Dreams 2:48
7. Temples of Evil 4:07
8. Reborn 7:38
9. Adagio Eternal Live 0:34
------
39:04
Often overshadowed by the impressive scenes that developed a tad bit
earlier in the U.S. east coast and Sweden, the German death metal scene
was a curiosity that grew into a sizable forced to be reckoned with by
the time the 90s were in full swing. Much of this owed initially to the
efforts of a couple of small German labels in Morbid Music and 1MF
Records in signing acts that were starting to move things a step beyond
the death/thrash conservatism of the scene's early trailblazers
Protector and Baphomet, though the latter is to be credited with the
founding of the highly relevant metallic wellspring that is Massacre
Records. By the time 1993 rolled around the Teutonic legions of death
had already managed to catch up with the stylistic evolution of the
greater death metal movement and a number of progressive-tinged
behemoths in Dark Millennium and Traumatic Voyage had begun to modify
the existing paradigm into something far more nuanced and multifaceted.
Though a tad bit more conservative and less known due to an extremely
short run before fading into obscurity, Odendort natives Amboss were cut
from a very similar, forward-looking grain and carved a very interesting
niche for themselves with their lone at around the same time with their
epic foray into the realms of terror Those Who Have Lost The Right To
Exist.
First impressions can often be quite deceiving, and no more is this the
case than with the way that this album introduces itself. Foregoing any
sort of expected ambient intro or sub-one minute acoustic ditties, the
first sixty seconds of the epic opening song "Reign of the Moon (Or the
Symphonies of Sarajevo)" listen something along the lines of a twisted
homage to the soundtrack of The Exorcist and a dreary folk song with a
crooning clean vocal that gradually evolves into a more aggressive and
noodling mishmash of influences that dovetails quite surprisingly with
Death's Individual Thought Patterns, though also containing some fairly
obvious nods to the dark and atmospheric character of Nocturnus and
Darkthrone's one-off foray into keyboard-driven death metal Soulside
Journey, not to mention landing on a fleeting guitar solo that injects a
late 80s, Rick Rozz flavor into what is otherwise about as far removed
from said era as might have been encountered up to this point. Though
not a full representation of this album's unorthodox mixture of old and
new, this 6-minutes plus ode to the horrors that occurred in the Balkans
functions as a highly effective preview for the assorted mixture of
hauntingly serene atmospheric sections with technical, riff-happy
bludgeoning that follows.
Not content to be boxed into either the traditional or progressive mold,
this album essentially contains a rather evenly distributed blend of
both, often separated by the length of the song in question. Though some
sort of atmospheric acoustic, keyboard or clean vocal/spoken interlude
adorns every single track in congress, the longer things go the more
things veer outside of genre precedent, with the equally adventurous
cousin of this album's opener "Suicidal Overdose" throwing in these
oddball folksy acoustic lines between the largely mid-paced and
drum-heavy body of this song. Meanwhile, the longest and de facto album
closer (if combining it with the short outro "Adagio Eternal Live")
"Reborn" combines a distant, ghostly stream of church organ notes into a
meandering homage to the heavily technical precedents that Chuck
Schuldiner had set in the early 90s, almost like the band is rocking out
in a cemetery with the church organist occasionally piping away in the
distance. Things take on a bit more predictable mixture of thrashing
tendencies when things are a bit shorter, as displayed in the heavily
similarities to early Entombed's fast-paced exploits on "Common Sons"
and the outright thrashing pandemonium of "Temples Of Evil" and
"Lost..." that decapitates zombies faster than an undead Connor MacLeod.
It's a rather sad eventuality that this band virtually evaporated into
thin air soon after this album dropped, as they had all the potential to
give the likes of Dismember, Fleshcrawl and Edge Of Sanity a run for
their money. Then again, there may be a degree of credence to the notion
that this band may have struggled to break through given that their
peculiar blend of impact-based death metal with a host of progressive
twists that often veered clear out of the death metal sub-genre was a
bit out there for 1993, as even within the somewhat forward looking
death metal scene most probably didn't know quite what to make of it.
Having said that, the years have actually been quite kind to this
collection of songs as the death metal genre has come all but full
circle with the revival of the old school sound, thus resulting in the
Spanish-based Temple Of Darkness Records giving this a long overdue
reissue less than a year ago. It's a bit jagged around the edges at
times, particularly in how the ambient interludes and intros interweave
with the rest of the album, but overall this is the sort of album that
any old school fan who enjoyed the stylistically transitional efforts of
the early 90s should check out.
---
Amboss were a death metal band from Germany. As a band, they based this
record around adventurous symphonies and full-toned harmonies.
Faultless, this band was during their era. With closer scrutinizing, you
can see that most (if not all) American death metal bands immensely
lacked this kind of originality. Amboss had only one furlough throughout
their short occupation.
If you're a fan of orthodox formation, you shouldn't have any misfortune
accepting this fine work. Throughout this unrestricted record, all
tracks are heavily-based around orchestration. Clean vocals play a
substantial role throughout a lot of the record, they can also be
advised as storytelling. You can't neglect your paradigmatic
death-growls when it comes to death metal. You can always expect
darkened and sinister vocals in this genre of music. With both clean and
distorted vocals being used on this record, you can feel more verity
amongst the two. The abysm is widely elevated because of it.
The distinguished orchestration and keyboard playing give a praiseworthy
amount of abysm to all other instruments being played. Instead of
consistently observing the harsh and grim-like instruments always being
played in death metal, you finally get a flavor that tastes experimental
to what you're used to hearing. You have your traditional guitar playing
and riffs. At times, you can hear a more desirable guitar pitch that
sounds more technical and groovy. The bass is, as it always seems to be,
pretty quiet, but you know it's in the atmosphere. The drumming is
anything too supreme. The drums are thunderous, not to a point where
it's provoking everything else, just where it needs to be observed.
The reason why this band disbanded after their only release is a
mystery. Even though the band was very short-lived, they ended up
conjuring a mammoth-like essence to the death metal portrait forever. I
solidly propose to anyone who finds this band on YouTube and/or on CD
(very rare to find) to heed this record. You'll be entertained by this
fragment of work!
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