Atheist
Piece Of Time

Some bands are destined to be born and die within a few years, and make history. This happened in the early '90s to two particularly important groups in the prog-death scene: Cynic and Atheist.

Not only that: there must be, in some way, "cultural fluids" that favor, at certain times and in particular areas, the flourishing of movements that have no comparison on a global scale. And so I don't think I'm exaggerating if I see in a small patch of land of a few square kilometers, Florida, the most important place in the world for prog-death, having given birth to none other than Atheist, Cynic, and Death practically at the same time. And here a tear is shed for what seems to be a curse: the Cynic, who will dissolve shortly thereafter, the Atheist who will manage to create just (!) three masterpieces, and the Death, who, still musically very much alive, will fade away with the passing of the great Schuldiner. But it's the beginning of all this that we are talking about.

1990: Death are still in a transitional phase with the interim "Spiritual Healing," still caught between the rawness of their debut and the refined technique of later releases. But here comes a novelty, a small group with a troubled birth, that no longer sings of misery, pain, suffering, death, but tries to surpass it, recovering a spiritual perspective that Schuldiner's Death never had, focused as they are on immediate sensation, visceral and bodily suffering, death as an inevitable and painful event. The Atheist, as mentioned, do something else: life is only earthly ("Piece Of Time") but does not lose spirituality, war is cursed ("Unholy War") and always ideological; they reject human society that relies on priests and politicians ("I Deny", "Why Bother"), presenting their manifesto of atheism ("No Truth").

Atheist have a decidedly unusual depth for a metal band, and they approach life and philosophy as no one else had done—or will do—within the movement. Beyond pure and simple historiography, though rich in charm, there is an album not yet completed but of indescribable energy.

The production is typical of the era and genre, a bit muddled but very effective, with guitars in the foreground, the voice slightly behind and somewhat reverberated, the bass penalized but still understandable, kick and snare in evidence, dry sound. The album opens with one of the best tracks, "Piece Of Time," characterized by great work in the rhythm section and powerful, fast riffs. Throughout the album there will be not even a drop in tension, so that a full listen—even though not very long—could feel heavy, if it were not for the fact that the band was careful to maintain a very high technical and creative level: you will not get bored.

If possible, "Unholy War" speeds up even more, then slows down in a fully rock-prog decline, and starts again frenzied and vigorous. "Room With A View" slows down and the pace becomes more obsessive; you can feel much of the inspiration that will be inherited from, but simplified by, At The Gates shortly thereafter. "On They Slay" and "Beyond" are more indebted to the Thrash of Testament and Metallica, but perhaps especially Slayer. "I Deny" and "Why Bother" are instead in full Atheist style, decidedly more personal, truly wonderfully complex, with an intro supported by the rhythm section, and decidedly prog hints. The chorus, then, is always a masterpiece of darkness and backbeats (and At The Gates continue to thank them). "Life" is a bit less evolved, probably of earlier composition, judging by the slightly less technical and more traditional approach. It ends with "No Truth," another wonder of an album that, although not completely mature, remains a masterpiece of creativity and mastery; the very contemporary intro, supported by an outdated but adequate synth, is brutally interrupted by a sharp riff and a rhythm that shreds time. The inhuman growl accompanies us to the end of the album, in a track that is, once again, varied and built with impressive care, a worthy closing of a historic album from which all metal (not just prog, nor just death) will draw heavily.

An album that a fan cannot pass up, but that may seem less accessible to some newcomers. Anyway, the Atheist we have known were always like this: never banal and never verbose, in perfect stylistic and content balance, but pure in an integralist interpretation of the genre, without any concession to the commerciality of what have never been simple products, but always Works.

Thank God we had Atheist!