Few bands have pioneered such an impressive array of Extreme Metal genres as Celtic Frost. They are widely renowned for being involved in everything from Thrash and Black Metal to Glam and Avant-Garde metal. A sizable amount of hype surrounded the release of the Swiss band’s plutonium heavy Monotheist in 2006, their first collection of original material in sixteen years. Listeners of Monotheist found themselves wading knee-deep in states of Doom Metal and Gothic Metal induced gloom. Celtic Frost dissolved in 2008, but this was just a minor obstacle for frontman and primary songwriter Tom Warrior. A logical development, Warrior formed Gothic Metal outfit Triptykon the same year. Attentive followers of Celtic Frost would not be surprised to find the newly formed quartet’s 2010 release Eparistera Daimones to be riddled with temperaments of Doom Metal malaise and composite bouts of Death, Black, and Thrash Metal. Flash forward four years, Triptykon fans anxiously await a follow-up release, having only a single EP of three original songs to hold them over. As of April, Triptykon have released their sophomore album, entitled Melana Chasmata, and it is a grim voyage.
Tom Warrior defines the Greek title as “black, deep depressions/valleys,” which is certainly not far from the mark. Those who like their Metal with a side of catchy choruses and a few breakdowns here and there to wash it down will be gravely disappointed. Melana Chasmata is a fine exemplar of Triptykon’s capability to perform several separate styles of music. “Breathing,” the album’s lead-off single, perfectly encapsulated the band’s dynamic that emerged from the seasoned Tom Warrior’s experience in Celtic Frost (a premier name in the small circle of European Thrash-minded Black Metal bands in the ‘80s) and fellow guitarist V. Santura’s time spent in German Black Metal act Dark Fortress (who largely gained their present following just since the 2000s). This convergence of old and new visions of Extreme Metal intertwine flawlessly on tracks like “Tree of Suffocating Souls” and “Demon Pact.” Despite the latter treading curious ground by taking on Doom Metal with minimalist and experimental elements strewn throughout, its heaviness remained unscathed. Indeed, the hulking weight present in Triptykon’s previous effort had only grown into a sound as massive as it is mature. “Boleskine House” and “Auroræ” are both able to create their own unique looming atmospheres. “Altar of Deceit” is a striking Doom Metal track. The grinding tones provided by bassist Vanja Šlajh give it a semblance of Sludge Metal complete with painful, near funeral doom levels of slowness only to exhibit riffs that would provoke envy in even Pentagram or Saint Vitus.
It would be unfair and unfounded to label Triptykon simply as a “Doom Metal” or “Gothic Metal” act. Some of the standout tracks are the ones that do not adhere to the standard “heavy, low, and slow” schema whatsoever. “In the Sleep of Death,” for instance, has certain sonic qualities reminiscent of old-school Black Metal. The lack of screaming vocals on the album just makes those on “In the Sleep of Death” that much more powerful. The closing track, “Waiting,” was also a daring inclusion on the album. It begins with dreamy female vocals that lead the song into a syncopated, major-keyed composition with passages of Post-Rock.
Triptykon’s keen sense of exploration was certainly their primary strength on this album. There are moments that leave the listener yearning for diversity. “Black Snow,” for example is a twelve and a half minute Gothic Metal track that goes through motions of Doom for Doom’s sake. Regardless, Melana Chasmata proved to be a highly fruitful undertaking assuredly deserving of its critical praise. CrypticRock gives Melana Chasmata 3.5 out of 5 stars.
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