Colosseum, Chapter I Delirium
Not to be confused with the 1970’s British progressive outfit, this Finland based band of the same name produces some ultra heavy, apocalyptic funeral doom. Started by Juhani PalomŠki, the lead vocalist of the symphonic goth metal band Yearning, Colosseum is a disturbing vision of desolation. Mixing orchestral arrangements with eerie, ambient soundscapes and extreme doom metal, PalomŠki has unleashed Chapter 1 Delirium, an album with the overwhelming feeling of despair and finality.
Delivering six songs in just under 64 minutes, this debut from Colosseum is an odyssey through some of the bleakest, slowly paced doom metal I have ever experienced. Dark, oppressive riffs create a funeral hymn more appropriate for a dying god than any mere mortals’ ears. Combined with heavy handed drumming and a slowly delivered guttural growl, Chapter 1 Delirium creates a dismal atmosphere powerful enough to drive thoughts of being pulled slowly to the bottom of the sea with cement blocks tied to your feet.
The Gate of Adar
Slow instrumental soundscapes start the album off. The pace never picks up but only gets heavier as the deep guttural vocals. For nearly 11 minutes the listener is slowly dragged into a world of darkness and solitude, with only thoughts of despair to accompany them. Slow, plodding riffs mix with dark orchestral work to create an oppressively heavy funeral dirge.
Corridors of Desolation
The shortest track on the album, coming in at just under seven minutes, “Corridors of Desolation” continues with slowly beating drums and orchestral string arrangements. I slowly played, soulful guitar solo highlights this track. More deep guttural vocals deliver a message of desolation. The track lightens up for a few moments with a few ambient sections.
Weathered
“Weathered” is the longest track on the album and continues the visions of heavy doom. If it’s at all possible, this one feels even darker than the previous tracks. Perhaps it’s the eerily played keyboard work that slithers in the background behind crushing riffs and heavy handed drums. The track ends with some nice guitar work.
Saturnine Vastness
I hope you’re not too depressed at this point in the album as more doom heaviness is to come. “Saturnine Vastness” starts with heavily played, calculated drumming and slowly developing riffs. There is some nice dual guitar highlights in the beginning of the track that set the mood nicely. PalomŠki’s vocals don’t kick in until well after the 2 minute mark. The track quiets a bit with dramatic, ambient work to helps break up the rotting monotony of the dirge.
Aesthetics of the Grotesque
I love the title of this track. It starts off slowly with some acoustic guitar work as it fades in from the end of “Saturnine Vastness.” The slow building track erupts briefly with a large riff at about the 2:30 mark. It’s not any quicker than the previous tracks, but hits pretty hard considering this is ultra heavy and slow doom. Vocals and a following solo kick in at about the 5:50 mark. This is a fairly dramatic sounding track and is a stand out on the album.
Delirium
While this album is a nice break from the chugging mosh of discs we normally get, it does take it’s toll on you in terms of the investment you have to make to sit through it all. The final track actually picks up the pace a bit after building from quiet instrumental work. It’s the most aggressive track on the album and hits like a ton of bricks. Colosseum timed this one right, especially after the suffocating crush of earth filling in around your coffin on the previous five tracks. It’s a nice way to finish out the album.
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In interviews and press work, Juhani PalomŠki claimed that he wanted to create the heaviest funeral doom mixed with classical orchestrations. I’ve got to say this is some of the most oppressive, desolate sounding metal I’ve ever heard — by that measure I think PalomŠki accomplished his goal and then some.
Favorite Tracks:
All of them.
Additional Notes:
n/a