[Originally rejected by Diamhea, Encyclopaedia Metallum]
From the Devil's Tomb starts off strong with the title track. It quickly builds up the necessary atmosphere that makes the music sounds absolutely amazing to listen to even for the uninitiated. The marriage between traditional black / death metal strains, held together by South Asian proclivity can be classified as innovative even by Weapon's standard. For years I have left this album buried beneath my collection and it was not until recently that I began to realise how much of a loss it really was for me to neglect this record at the first place.
Throughout the runtime, we are treated to an array of beautifully crafted aural sorcery. 'From the Devil's Tomb' itself is perhaps one the best tracks on this record and the band certainly knows the potential this song has in captivating your senses. The slow, doom-like opening is certainly a clever attempt to convince you into thinking that this album is going to be dominated by plodding, repetitive ideas. But no, Vetis Monarch and his fellow occultists have formulated a very strategic equation that has left listeners with a sense of awe, as it has done to me. The melodic leads are key. Here, Apostle VIII (Dylan Atkinson, who is currently in Antediluvian and has shaved his head since) complemented Vetis' rhythm with equal proficiency. This is how you create music of the highest quality. Yes. The song has its moments, great ones. There is not a single negative thing that can be said about the title track. Due to the band's ability to capture your attention right from the start, you can expect the rest of the album to have even more surprises along the way. The tapping solo is especially wonderful. It's not simply shredding across the fretboard senselessly in frenetic fashion. What it does is actually bringing a whole new dimension to an already powerful track. The slow section around 06:45 is also interesting to listen to. One does not simply listen to that part without banging your head to it.
Just as the band kicked off the record with a surprisingly powerful song, 'Vested in Surplice, and Violet Stole' rages through with a force to be reckoned with. The song opens up with a series of rolls alternating with brief shimmering on the hi-hat cymbals. That alone is interesting enough to listen to. It also features furious blast beats that would later slow down during the pre-verse part (and other necessary breakdowns) while your ears are being assaulted with venomous doses of tremolo pickings that make up the bulk of the track. The soloing around 03:25 to 04:13 combines Vetis Monarch's melodicism with that of Apostle's, resulting in yet another highlight that is impossible to forget or dismiss. The same can also be said with the following track 'Furor Divinus' with its all the more memorable chorus. Incorporating elements of anti-Cosmic Satanism with seemingly valuable insights on traditional Hindu gods of destruction, Weapon is actually blessed with well-rounded talents encompassing the key features that are lacking in many bands of today. While 'Furor Divinus' is an exercise in outright brutality, the band doesn't shy away from displaying a flair of melody, particularly the magnificently unforgettable tremolo-picked solos from 01:27 to 02:05 which are then re-emphasised on 02:44 to 03:03.
Of course, there seems to be no shortage of brilliance to be found on this sophomore. 'Vortex - 11724', way interesting to name a track, is notable for its textbook approach of tried and true formula. But Weapon has invested enough time and energy in expanding their creativity on this particular track. This can easily be illustrated on the verse and pre-chorus whereby the brooding rhythm is towed by a sequence of tremolo picks. Where this is heading is even more amazing; the breakdown at the middle (02:42) gives way to unique combination of mid-paced with yet again picked tremolo section, only to vomit forth the ensuing melody with an additional dosage of lead of similar fashion.
For most part, I tend to dismiss the instrumental track(s) on any album as fillers. Apparently this is not the case with 'Lefthandpathyoga'. Vetis Monarch does not appear to eschew the need for, should I say, a softer perspective of looking at things from a Satanic standpoint. The instrumental is simply stunning. There is hardly a hint of wankery or excesses. From the acoustic, sitar-like opening to mellow yet progressively rhythmic riff, to appropriately constructed lead solos that struck more chords in your heart than any other sinister vibration, 'Lefthandpathyoga' is indeed a soundtrack to diabolical meditation, if one wishes to use it for that purpose. Yes. This track has a purpose, which is to enhance the already rich atmosphere and dreadful feelings that are previously introduced in the first four hymns. This is certainly not the end. 'The Inner Wolf' continues this tradition with Weapon's signature ferocity with added bonus of dark, menacing Hammond organ on pre-verse sections. Only this time the band has stepped up their game as evident by the use of extended hyper-blast beats on the verse parts courtesy of The Disciple (Paulus Kressman of Sacramentary Abolishment fame; also happen to be my favorite band as well!). That breakdown on 04:57 is surely addictive and no, this is not your typical groove metal tune that you can mosh to. This is absolutely sinister. Did I mention groove? Yes. And Weapon is using a healthy amount of it here. I think the only low point on 'The Inner Wolf' is the band's decision to fade out the lead solos to conclude the song. The solos are no less amazing. It is just unfortunate that the band has decided to silence the solos hence the lost of momentum can't be any more obvious.
By now it is clear that I am describing this album in a dreaded track-by-track format. Pardon me, though. I can't help it. Listening to 'From the Devil's Tomb' in its entirety is not enough. It is a very empowering listening experience that only those with keen ears for the little details are able to pick out the superficially similar elements that, upon closer inspection, are uniquely different from one another which add more palette to otherwise monochromatic subgenre i.e. blackened death metal. Weapon, at least on this record, knows this very well. The opening tambla (is that even the correct spelling??) and sitar on 'Sardonyx' is absolutely refreshing and in no way does it restrain Weapon from unleashing a barrage of aural assault on the very next moment. To make things even more interesting, a wailing lead guitar is added to complement the enchanting atmosphere. It sounds completely ritualistic. But yes, make no mistake. Weapon comes ripping off your face at the drop of a hat when the verse section begins. How can one possibly overlook this is simply baffling. For all we know, this release is one of a kind, if not the only kind. Or is it just me who had not heard any Middle Eastern influenced metal before? Either way, Weapon has just got started - another beautiful sitar comes in at 03:50 with a series of rolls on the snare drum before culminating with Vetis Monarch's Tom G. Warrior impersonation (Uggh!!) at 04:27. And yes we have another groovy double bass pummeling through the riffs with somewhat dissonant soloing to inject even more venom into your ears.
We have reached 'Trishul', the second last track on this magnum opus. Has everything been watered down by now? Not all. While it is apparent that Weapon is closing in on even more melodic ryhthm, there are things that keep the flame alive. Make no mistake, the chugging rhythm is not a last ditch attempt to cash in on the hook-loving crowd. Rather, it paints a picture perfect soundscape of hellish proportion beginning from 03:33. We are then being treated yet again to a series of mournful but malevolent lead works before my favorite section comes to manifest at 05:02; a surprisingly short but effective acoustic plucking that suits the atmosphere of the song extremely well. Everything seems to stand still when the acoustic part kicks. It is simply mesmerizing to listen to that it prompts me to reverse the track to that particular section just so I can be mystified by its beautiful chakra again and again. Groovy double bass makes another comeback right after the acoustic has evanesced into the thin air. But I believe it because it is absurd. I listen to it because it absurdly alluring.
Weapon eventually closes the chapter with 'Towards the Uncreated'. By now I have high hopes that the final track is going to be an appropriate conclusion to all the magnificently stunning effort that the band has showcased for us to hear, enjoy and appreciate. Yes. From the very first track all the way to the final one, Weapon could hardly disappoint. In fact, one track is a brief taste of what's to come and you can expect only the best from them. 'Towards the Uncreated' wraps things up with everything that we have come to know about Weapon; fast paced rhythm adorned with serpentine, hissing lead works that slowly glides its way into the deepest recesses of your subconscious, groovy double bass that can go from 0-60 mph at moment's notice, and multitude of seemingly endless capacity for the rhythm guitars to keep you nailed to your seat so you can listen to this album on repeat.
Okay, so far I have not mentioned anything about the bass. Is it really necessary to say something about this instrument each time I'm writing a review? Perhaps not. But on this album, the bass guitar is quite audible. Eric's performance is no less noteworthy than the rest of the band members. While it is known that the bass only follows the rhythm throughout, on heavier parts the bass is quite prominent. It is even more powerful on slower parts, which makes up half of the album's composition and in turn accentuated the lower registers. In essence, the bass is not simply interred beneath the wall of independent yet contiguous riff. Vetis Monarch's vocal and singing are praiseworthy too. I truly enjoy his gruff, semi-growling vocals that are well suited for the album's atmosphere. His clean singing is not bad as well. I would expect other bands to fail miserably when attempting to insert clean vocals on their output, but not Weapon. Just listen to 'The Inner Wolf' around 04:14 - 04:35. Although Mashruk Huq is a Bangladeshi, he speaks on a level similar to native speakers without any awkward accent. To make things interesting, he even pens some of the richest, most insightful take on occultism, anti-religion, and all things Satanic. This is not your regular high-school problem child who writes "Fuck Christ" and "Satan ist krieg" type of bullshit; Vetis Monarch has some serious vocabulary and he knows just what to write in trying to express his tales of Left Hand Path conviction. And who could forget the addictive chorus he has written for 'Furor Divinus' in which Vetis has invoked the names of Hindu deities in a very convincing manner. It is convincing. Yes. Here's why; he is a Bangladeshi and he comes from a nation where Muslims and Hindus are trying to dominate one another. He is not just some European guy who tries hard to use elements of Hinduism for whatever reasons (I'm looking at you, Cult of Fire!). Vetis Monarch is for real. Unfortunately though, he has decided to conclude Weapon after allegedly growing disdainful toward the metal crowd, particularly the black metal fans where he has referred to them in an interview as 'some of the dumbest and most ignorant people I have ever met'. Well, I have nothing against that really.
All in all, this is a great album with 100 per cent of the songs being highly memorable. I considered 'From the Devil's Tomb' as the eventual outcome of what Black Sabbath has started before reaching the uncharted territory that makes albums like 'Bonded by Blood', 'Darkness Descends', 'Reign in Blood', and 'Pleasure to Kill a landmark in metal history. It's progression in the most logical way, shape and form. You know it will come to this after years of listening to metal music, an evolution that does not stray away from the roots while taking in inspirations from what has transpired in between the chaotic scene with the likes of Revenge, Beherit, Blasphemy, and possibly even Incantation. Grab this album if you haven't already and I shit you not - this is a top notch material!
Throughout the runtime, we are treated to an array of beautifully crafted aural sorcery. 'From the Devil's Tomb' itself is perhaps one the best tracks on this record and the band certainly knows the potential this song has in captivating your senses. The slow, doom-like opening is certainly a clever attempt to convince you into thinking that this album is going to be dominated by plodding, repetitive ideas. But no, Vetis Monarch and his fellow occultists have formulated a very strategic equation that has left listeners with a sense of awe, as it has done to me. The melodic leads are key. Here, Apostle VIII (Dylan Atkinson, who is currently in Antediluvian and has shaved his head since) complemented Vetis' rhythm with equal proficiency. This is how you create music of the highest quality. Yes. The song has its moments, great ones. There is not a single negative thing that can be said about the title track. Due to the band's ability to capture your attention right from the start, you can expect the rest of the album to have even more surprises along the way. The tapping solo is especially wonderful. It's not simply shredding across the fretboard senselessly in frenetic fashion. What it does is actually bringing a whole new dimension to an already powerful track. The slow section around 06:45 is also interesting to listen to. One does not simply listen to that part without banging your head to it.
Just as the band kicked off the record with a surprisingly powerful song, 'Vested in Surplice, and Violet Stole' rages through with a force to be reckoned with. The song opens up with a series of rolls alternating with brief shimmering on the hi-hat cymbals. That alone is interesting enough to listen to. It also features furious blast beats that would later slow down during the pre-verse part (and other necessary breakdowns) while your ears are being assaulted with venomous doses of tremolo pickings that make up the bulk of the track. The soloing around 03:25 to 04:13 combines Vetis Monarch's melodicism with that of Apostle's, resulting in yet another highlight that is impossible to forget or dismiss. The same can also be said with the following track 'Furor Divinus' with its all the more memorable chorus. Incorporating elements of anti-Cosmic Satanism with seemingly valuable insights on traditional Hindu gods of destruction, Weapon is actually blessed with well-rounded talents encompassing the key features that are lacking in many bands of today. While 'Furor Divinus' is an exercise in outright brutality, the band doesn't shy away from displaying a flair of melody, particularly the magnificently unforgettable tremolo-picked solos from 01:27 to 02:05 which are then re-emphasised on 02:44 to 03:03.
Of course, there seems to be no shortage of brilliance to be found on this sophomore. 'Vortex - 11724', way interesting to name a track, is notable for its textbook approach of tried and true formula. But Weapon has invested enough time and energy in expanding their creativity on this particular track. This can easily be illustrated on the verse and pre-chorus whereby the brooding rhythm is towed by a sequence of tremolo picks. Where this is heading is even more amazing; the breakdown at the middle (02:42) gives way to unique combination of mid-paced with yet again picked tremolo section, only to vomit forth the ensuing melody with an additional dosage of lead of similar fashion.
For most part, I tend to dismiss the instrumental track(s) on any album as fillers. Apparently this is not the case with 'Lefthandpathyoga'. Vetis Monarch does not appear to eschew the need for, should I say, a softer perspective of looking at things from a Satanic standpoint. The instrumental is simply stunning. There is hardly a hint of wankery or excesses. From the acoustic, sitar-like opening to mellow yet progressively rhythmic riff, to appropriately constructed lead solos that struck more chords in your heart than any other sinister vibration, 'Lefthandpathyoga' is indeed a soundtrack to diabolical meditation, if one wishes to use it for that purpose. Yes. This track has a purpose, which is to enhance the already rich atmosphere and dreadful feelings that are previously introduced in the first four hymns. This is certainly not the end. 'The Inner Wolf' continues this tradition with Weapon's signature ferocity with added bonus of dark, menacing Hammond organ on pre-verse sections. Only this time the band has stepped up their game as evident by the use of extended hyper-blast beats on the verse parts courtesy of The Disciple (Paulus Kressman of Sacramentary Abolishment fame; also happen to be my favorite band as well!). That breakdown on 04:57 is surely addictive and no, this is not your typical groove metal tune that you can mosh to. This is absolutely sinister. Did I mention groove? Yes. And Weapon is using a healthy amount of it here. I think the only low point on 'The Inner Wolf' is the band's decision to fade out the lead solos to conclude the song. The solos are no less amazing. It is just unfortunate that the band has decided to silence the solos hence the lost of momentum can't be any more obvious.
By now it is clear that I am describing this album in a dreaded track-by-track format. Pardon me, though. I can't help it. Listening to 'From the Devil's Tomb' in its entirety is not enough. It is a very empowering listening experience that only those with keen ears for the little details are able to pick out the superficially similar elements that, upon closer inspection, are uniquely different from one another which add more palette to otherwise monochromatic subgenre i.e. blackened death metal. Weapon, at least on this record, knows this very well. The opening tambla (is that even the correct spelling??) and sitar on 'Sardonyx' is absolutely refreshing and in no way does it restrain Weapon from unleashing a barrage of aural assault on the very next moment. To make things even more interesting, a wailing lead guitar is added to complement the enchanting atmosphere. It sounds completely ritualistic. But yes, make no mistake. Weapon comes ripping off your face at the drop of a hat when the verse section begins. How can one possibly overlook this is simply baffling. For all we know, this release is one of a kind, if not the only kind. Or is it just me who had not heard any Middle Eastern influenced metal before? Either way, Weapon has just got started - another beautiful sitar comes in at 03:50 with a series of rolls on the snare drum before culminating with Vetis Monarch's Tom G. Warrior impersonation (Uggh!!) at 04:27. And yes we have another groovy double bass pummeling through the riffs with somewhat dissonant soloing to inject even more venom into your ears.
We have reached 'Trishul', the second last track on this magnum opus. Has everything been watered down by now? Not all. While it is apparent that Weapon is closing in on even more melodic ryhthm, there are things that keep the flame alive. Make no mistake, the chugging rhythm is not a last ditch attempt to cash in on the hook-loving crowd. Rather, it paints a picture perfect soundscape of hellish proportion beginning from 03:33. We are then being treated yet again to a series of mournful but malevolent lead works before my favorite section comes to manifest at 05:02; a surprisingly short but effective acoustic plucking that suits the atmosphere of the song extremely well. Everything seems to stand still when the acoustic part kicks. It is simply mesmerizing to listen to that it prompts me to reverse the track to that particular section just so I can be mystified by its beautiful chakra again and again. Groovy double bass makes another comeback right after the acoustic has evanesced into the thin air. But I believe it because it is absurd. I listen to it because it absurdly alluring.
Weapon eventually closes the chapter with 'Towards the Uncreated'. By now I have high hopes that the final track is going to be an appropriate conclusion to all the magnificently stunning effort that the band has showcased for us to hear, enjoy and appreciate. Yes. From the very first track all the way to the final one, Weapon could hardly disappoint. In fact, one track is a brief taste of what's to come and you can expect only the best from them. 'Towards the Uncreated' wraps things up with everything that we have come to know about Weapon; fast paced rhythm adorned with serpentine, hissing lead works that slowly glides its way into the deepest recesses of your subconscious, groovy double bass that can go from 0-60 mph at moment's notice, and multitude of seemingly endless capacity for the rhythm guitars to keep you nailed to your seat so you can listen to this album on repeat.
Okay, so far I have not mentioned anything about the bass. Is it really necessary to say something about this instrument each time I'm writing a review? Perhaps not. But on this album, the bass guitar is quite audible. Eric's performance is no less noteworthy than the rest of the band members. While it is known that the bass only follows the rhythm throughout, on heavier parts the bass is quite prominent. It is even more powerful on slower parts, which makes up half of the album's composition and in turn accentuated the lower registers. In essence, the bass is not simply interred beneath the wall of independent yet contiguous riff. Vetis Monarch's vocal and singing are praiseworthy too. I truly enjoy his gruff, semi-growling vocals that are well suited for the album's atmosphere. His clean singing is not bad as well. I would expect other bands to fail miserably when attempting to insert clean vocals on their output, but not Weapon. Just listen to 'The Inner Wolf' around 04:14 - 04:35. Although Mashruk Huq is a Bangladeshi, he speaks on a level similar to native speakers without any awkward accent. To make things interesting, he even pens some of the richest, most insightful take on occultism, anti-religion, and all things Satanic. This is not your regular high-school problem child who writes "Fuck Christ" and "Satan ist krieg" type of bullshit; Vetis Monarch has some serious vocabulary and he knows just what to write in trying to express his tales of Left Hand Path conviction. And who could forget the addictive chorus he has written for 'Furor Divinus' in which Vetis has invoked the names of Hindu deities in a very convincing manner. It is convincing. Yes. Here's why; he is a Bangladeshi and he comes from a nation where Muslims and Hindus are trying to dominate one another. He is not just some European guy who tries hard to use elements of Hinduism for whatever reasons (I'm looking at you, Cult of Fire!). Vetis Monarch is for real. Unfortunately though, he has decided to conclude Weapon after allegedly growing disdainful toward the metal crowd, particularly the black metal fans where he has referred to them in an interview as 'some of the dumbest and most ignorant people I have ever met'. Well, I have nothing against that really.
All in all, this is a great album with 100 per cent of the songs being highly memorable. I considered 'From the Devil's Tomb' as the eventual outcome of what Black Sabbath has started before reaching the uncharted territory that makes albums like 'Bonded by Blood', 'Darkness Descends', 'Reign in Blood', and 'Pleasure to Kill a landmark in metal history. It's progression in the most logical way, shape and form. You know it will come to this after years of listening to metal music, an evolution that does not stray away from the roots while taking in inspirations from what has transpired in between the chaotic scene with the likes of Revenge, Beherit, Blasphemy, and possibly even Incantation. Grab this album if you haven't already and I shit you not - this is a top notch material!
