Capitollium, Bloodfall of Flesh
After having already released four full length albums in Easter Europe, Capitollium will finally see global distribution with their latest opus of symphonic black metal, Bloodfall of Flesh. Formed over eight years ago, the band mixes influences from Septic Flesh with the likes of Rotting Christ to create a violent and suffocating blend of darkened metal.
Crushing, industrial influenced guitars smother the listener while keyboards echo funeral atmospherics. The vocals range from your typical higher end black metal screeches to deep, gothic growls. The additional of a professional female opera singer only deepens the band’s vocal presence. And we can’t forget the drumming, but then again how could you not pay any attention to it — it’s got an unmatched ferocity and power.
Bloodfall of Flesh
The album starts off with the title track — a masterful piece of symphonic dark metal. After some brief sound effects (chains, ambient noise) keyboard come in for the next 50 second or so. At that point thick riffs and heavy drum work, along with a few growls, destroys the silence. The keyboards persist along with the animalistic drumming and driving guitars. Layered vocals add nice depth to the track. The bass line and speedy drums at the 2:35 mark are a slick touch, as well. There’s some spastic guitar and noise around the 3:30 mark followed by gothic style vocals.
Nihil Versus Dei
“Nihil Versus Dei” starts off with ambient keyboards and vocals with some sci-fi effect applied to them. It’s an interesting way to open up the song, but doesn’t last long as big riffs and bass come in, giving the track a melancholy feel. There is an explosion of drums at 2:40 that’ll send you into massive seizures. The initial blast is followed by some new, more guttural vocals and then female operatic vocals join in. I think I prefer the track without them. Sure it would be less dramatic, but it would also me so much more evil. Thankfully there’s a sick solo at the 4:45 mark that devolves into churning chaos to make up for it.
Ego Sum Lead
The previous track blends seamlessly into “Ego Sum Lead” with dramatic keyboards and melancholic guitar work. This one is packed full of despondency and despair. After the initial 30 seconds of keyboards and light drumming, big guitars come into play. The female vocals are haunting on this one. I’m digging the beefy riffs at the two minute mark. This one certainly has a dramatic, epic feel. The four minute mark sees a brief explosion of activity on the drums.
Arachnophobia
After the soft ending to “Ego Sum Lead,” we get a more industrial metal feel to the sound effects on “Arachnophobia.” Twenty seconds in there are some massive guitars and heavy drumming. The keyboards at this point add a spooky and eerie feel, yet, oddly enough, there’s a great groove flowing through this one that makes the song a bit more catchy than it really should be. Layered vocals help add some darkness and depth to the song. I’m really liking the bass work that stands out throughout the length of the track.
Petrified Mirk
Keyboards and symphonic elements open up “Petrified Mirk” like the soundtrack to some great epic film. That lasts about 35 second before churning guitars and aggressive beats destroy the serene landscape that the keyboards initially painted. This track is a violent, evil affair that’s no easily ignored, especially with the layered guttural vocals. This is easily my favorite track on the album.
Mensis of Mind
“Mensis of Mind” initially sounds as though it’s going to progress along slowly, but the opening sound effects are swallowed by the gaping maw of the monolithic riffs that come in around the 40 second mark. This one has a huge sound in ever sense of the word. More layered guttural vocals only add to the feel of this track. The tempo shift at the 2:40 mark is infectious and head banging fun. The track ends in a flurry of massive riffs.
Triumphator
The chugging nature to this one has a sporadic, chaotic feel to it. There’s a coffin full of noise going on throughout this one — it’s almost too much to pay attention to. Lucky for us, the band shifts into full on thrashing, black metal mode just before the one minute mark with driving guitars and unrelenting drums. The solo at the 2:30 mark is soulful and impressive as hell.
Chant For Eschaton 2000
“Chant For Eschaton 2000” is a cover of a Behemoth track from the band’s Satanica. I don’t know the original version well enough to say how this one stacks up to it, but it’s a decent track nonetheless.
Open the Gates
The final track is a bit of a mash up of black metal and industrial metal with electronic and symphonic elements. It’s an interesting track, but not really my cup of blood.
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Capitollium take frighteningly brutal black metal, toss in some symphonic keyboards, a female opera singer and slick tempo shifts for one hell of a global debut. At times the disc will have you despondent and full of dread and then throw a complete 180° with soul crushing, blasting death from above.
Favorite Tracks:
Most of them
Additional Notes:
N/A