Immolation
Failures for Gods

I find it absurd that there isn't even a decent review of this work online among the various webzines in the field. Instead, space is given to crap that's not even worth mentioning... or maybe it is! On this same site, I've read a flood of reviews for Deicide (no offense, I understand that tastes are tastes!), a band that has become a caricature of itself and a stale segment of death metal (let it be clear that I have a high regard for masterpieces like "Legion" and "Deicide"). I'd like to elaborate and share more of my thoughts on this, but this is neither the space nor the time for it... it's time to focus on the album in question!

"Failures For Gods" (1999) is the third effort (in the true sense of the word considering the label issues after their '91 debut "Dawn Of Possession", in a way it follows the opening premise) by the New Yorkers and presents two important novelties for the band's maturity and sound. The first is Paul Orofino who from here on will manage every production for Immolation up to the recent "Shadows In The Light", contributing to forge an inimitable sound, never flat or plasticky. The excellent production is an accomplice of the apocalyptic, buried, dark yet "alive" sound (listen to the drum sounds to get an idea) and never chaotic as every instrument is well defined (only the bass is apparently covered by the frequencies of the guitars and voice, but once the Immolation style is assimilated, this flaw diminishes, and with the subsequent works this issue will fade away). The second novelty is the addition of the talented Alex Hernandez (ex Fallen Christ) to the lineup, one of the best drummers in extreme metal, capable of switching from devastating blast beats to very complex odd rhythmic patterns, also showing a complete and original approach to the drumkit, especially regarding the work on the toms.

The tracks are 8 brutal death pearls (in about 40 minutes, believe me there's no drop in tension nor a filler), more elaborate than in the past but more fluid (the already extensive technical executive/compositional repertoire has grown significantly), every riff, every passage is in the right place. Pressing Play, you're sucked into an infernal vortex, where it's not the brutality that dominates but the neurotic and dissonant sound assault of the guitars by the great Robert Vigna (never overly appreciated) and Thomas Wilkinson, at times frantic, disjointed, at times slow and morbid. Vigna's solos are always great, never self-serving (far from all the senseless 'squeals and noise', to be clear), recalling that 'melodic' mood (naturally we're not in Sweden!) dissonant of the brief leads supporting the riffs. And then there's Ross Dolan... what can I say! His voice is the best you can listen to (the growl of many singers today has now become just a grimace, a cold attitude), powerful, profoundly deep, yet understandable, and above all, suffered, loaded with anger and passion. The bass rhythms are good too, even if a bit covered as I mentioned, due to the sounds but mainly to its role as a 'glue' between the frenzied drumming and the guitar rhythms (a tip is to see Dolan and the band's professionalism and high fidelity to their records in live settings, to fully appreciate the value of Immolation and feel their strong emotional impact). I previously spoke of anger and passion, to understand what I mean it's important to mention the lyrics. The strongly anti-religious themes (particularly anti-Christian) are intelligently addressed from an atheist point of view (here is precisely contained the masterpiece "No Jesus, No Beast"), there's suffering, hell (the psychic one), crisis of faith, disillusionment ("...No Light... No Love... No Glory... No Heaven..."), in short, the lyrics are not just fillers but excellently complete the soundscape of the album.

In conclusion, a note of merit goes to Andreas Marshall who signs one of his most fascinating and visionary artworks (the second part of the cover is inside, a sort of surprise effect!); also inside, each text is accompanied by a drawing (icon) always very interesting and artistically valuable. To conclude, if it wasn't clear, the album is a masterpiece and shines with its own light (enough with the usual references to Morbid Angel, "Failures For Gods" has very little to do with Azagthot's band works, especially considering the low quality post "Domination"), and I invite fans of the genre to support one of the most unjustly underestimated entities!