Atrocity
Atlantis

THE REVIEW

It was back in 1985 when 6 German guys formed a metal band oriented towards gothic music, yet infused with death characteristics and elements. The result of their first albums was mediocre, but the band managed to continue, refine their sound, and keep moving forward.

In 2005 they created "Atlantis," but this time they offer a raw and violent death metal filled with gothic references and atmospheres. The myth of Atlantis might seem a bit overdone to many, but what matters is that Atlantis is enjoyable.

Vicious, powerful, and dark, with frequent changes in atmosphere — sometimes fully gothic; pumping keyboards and growl and clean vocals that alternate with a female lyrical voice contributing to a mystical air. Other times, clear and precise epic backgrounds are present, but what, in my opinion, spoils things a good bit, is the frequent habit of singable and melodic choruses, which in my opinion should be avoided in a genre like death; but analyzing the rest, everything is done very well. The band is German but the style of the songs draws a lot from the old Norwegian school, exemplified by "Reich Of Phenomena" with which the album opens, showcasing a violent epic drum gallop in a sinister and dark setting. The keyboards are excellent, providing that touch of melody that's not too daring or cold reminiscent of a genre very similar to Symphonic Black.

"Superior Race", then, also has a classic character inspired by thrash+brutal group mechanisms but keeps alive the genre proposed by the band. "Gods Of Nations", in and of itself, can serve well to understand the offered material. Choruses, schematic drums, vaguely nu-metal choruses, voracious growls, and sharp riffing. There's also a slight and very subtle commercial breeze flavoring the air, but it's so thin and barely noticeable that it seems deliberately placed to showcase differently material that remains distinctly underground. This is demonstrated by "Ichor" and "Enigma", both divided into two parts: a mixture of black metal and a blend of singable melodic sonority. So, to summarize, we have music balanced between gothic-leaning death and symphonic black, but tempered with easy melody despite the presence of growls and seriously conceived technical plays.

Finally, it seems evident that Krull and his companions have the desire not to label themselves in any genre, attempting, albeit a bit forcibly, to connect with heavy and thrash schemes in songs like "Morbid Mind". There is no shortage of an instrumental piece, such as "OMEN", both epic and gothic at the same time, sacred and mystical/prophetic. It wanders here and there between a "him" style piece like "Cold Black Days", but recovers with other more violence-framed tracks like "Atlantean Empire" and "Clash of Titans".