Atheist
Elements

THE REVIEW

It's incredible how an album whose release was violently forced by the record label is so full of meaning, both for the evolution of the band and for the metal scene in which it was found, as well as for the album's concept itself. It's incredible how it is so full of passion and experimentation.
It's incredible how a month's work between composition and recording could have produced twelve tracks that are so complex, elaborate, rich in nuances, and refined in every detail, in every sound.
It's incredible how Elements can be such a magnificent and complete work.

Eight elemental natures, which Atheist have described, narrated, and brilliantly conveyed through their music: odd, irregular and unpredictable just like reality, like matter, like the world and the elements; and they have fiercely supported it with the voice and words, more abstract but always characterized by that real cynicism of those who have tried to open their eyes a little.

The compositions, which differ from the contemporary Cynic due to a contamination that resembles more seventies prog rock than fusion, reach the peak of experimentation and interest, then, in the four instrumentals, in the four interludes: the staggering Samba Briza (try it to believe it), the lullaby-like Displacement, slow and sleepy, the rhythm-less Fractal Point, which ends just when you've deluded yourself into understanding it, the acoustic and melancholic See You Again, reminiscent of the good old eighties thrash ballads.
The last, summative, emblematic Elements, closes the masterpiece, which along with Cynic's Focus represents the highest point of death metal, the finest rarest, the least regarded, and the most interesting.

It's incredible.