Made in Taiwan is something we’ve all seen before; on toys, clothes, and a ton of other things. We haven’t seen it too often on a musical album, especially an extreme metal one. Unbeknownst to the cushy western world in which we dwell, Taiwanese metal institution Chthonic have been going strong since 1995 and had released their debut album way back in 1998. The band is rounded out by Freddy Lim (vocals and traditional instrument erhu), Doris Yeh (bass), Jesse Liu (guitar), Dani Wang (drums), and CJ Kao (keyboards). Heritage metal and pagan metal is music which tells the story of a people by incorporating foreign language and traditional instruments, which is of major appeal to many metal fans these days. The music has a dimension of mystery and appeals to the intellectual in all of us. If you can thrash your face off while learning a bit more about the world in which we live, that is clearly a win-win situation. In this musical genre the majority of the time we are learning about cultures throughout the world. These are subjects we have studied in school, and now in an entertaining fashion we hear it sung in ways we can relate. Now here comes Chthonic, a bellowing force from a truly foreign land, speaking of struggles the mainstream media has mostly ignored for decades.
Chthonic are at the forefront of political activism and humanitarian efforts in Southeast Asia. Founding member Lim has managed to construct quite a vicious and epic sound for the metal masses to enjoy while providing enlightenment. In the ensuing years the popularity of Chthonic has grown exponentially. The band has garnered awards and accolades for their music videos and albums. Bassist and beauty Doris Yeh has even found herself on the magazine cover of FHM Taiwan on various occasions. With that said the debate is open to long-time fans, has the spotlight diminished their creativity at all? Their seventh album on Spinefarm Records Bù-Tik answers that question with a resounding no.
Bù’Tik continues Chthonic’s incorporation of Taiwanese melodies and the erhu, an ancient instrument native to their soil. But if you are asking what kind of metal is on hand here, the answer is basically the sonic blueprint established by acts such as Dimmu Borgir and Cradle of Filth. Symphonic elements, resounding choruses, and the epic keyboard drive a bombastic sound. Some of the riffs are a little reminiscent of the aforesaid acts, but Chthonic manage to keep things fresh and original. They don’t overuse the traditional elements, and despite having a very crisp and produced sound, there is genuine feeling in these songs. Chthonic’s strengths lie in their subtle use of those traditional elements and even more so in their choruses. Epic isn’t a strong enough word to describe them. The album opening is a soundtrack-like call to arms. The track “Supreme Pain for the Tyrant” begins with a few licks of orchestral keys, followed by a Cradle-esque drum roll / bellowing growl combo which kicks things into high gear. Lim projects a sense of fury in his vocal approach. His people have been yoked around by the Chinese for centuries so he profoundly grabs your attention. It is exactly this ferocity which propels Chthonic from an ordinary symphonic black metal clone to authentic blood, sweat, and tears. “Sail into the Sunset’s Fire” opens with a Iron Maiden-like drum march before exploding before your metal tuned ears. Chthonic use their backing vocals to underpin Lim’s growl. This could be overused at times and become repetitive. The track is saved by an intense chorus, which returns us to the marching drum roll segment. The album’s first truly breathtaking moment occurs during the chorus of the following track “Next Republic”. The track opens with a sung verse by en elder Taiwanese man in a haunting fashion. The track is standard Chthonic fare with a chorus grabbing your heart and taking you deep with the story of Taiwanese struggle. “Rage of My Sword” starts with a bagpipe intro, and what follows is an absolute kick in the ass. This track is double-bass speed metal fanfare with a brutal chorus supported by swirling keys and melody. Chthonic truly plays to their strengths on this track. In a live arena, none will escape the pit without bruises.
The remaining tracks on the album play out in a similar fashion. Notable highlights are the clean sung chorus in “Defenders of Bù-Tik Palace”. If you are a fan of the middle era of bands like Dimmu and Cradle, chances are you will love Chthonic. Where the Taiwanese horde stands out from their symphonic black metal counterparts is in their arrangements; which are epic and orchestral without sacrificing that classic speed metal gallop. Bù’Tik closes out in traditional fashion with “Undying Rearmament”. The track transports you into an ancient field of battle in a dramatic fashion. Chthonic is rich in cultural influence of a land we all could stand to learn a little more about. Cryptic Rock gives this album 3.5 out of 5 stars.
- Spinefarm Records
Written by Nicholas Franco
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