Kingdom Of Conspiracy is a back to brutality album, taking the best parts of death metal, themes on the human condition and blending them all together to create one of the heaviest records of the year.
It has a perfectly sculpted use of harshness and sublime contrasts of melodic guitar work.
Immolation are a band known for being a brutal and inventive death metal outfit, an American four-piece whose back catalogue contains a rich collection of steeled, bombastic tones, all laced with a vigorously captivating delivery. The band’s style has been notably consistent with their brutality making them reliable genre keystones.
The band have striven since the early releases of Dawn Of Possession (1991) and Here In After (1996) right up to newer releases Shadows In The Light (2007) and Majesty And Decay (2010) to deliver a catalogue of albums filled with musical journeys, complete with heavenly blast beats and compositional trademarks. There’s a sense of chaotic crisis within the lyrics, strongly reinforced by the use of harsh vocals, as well as the jaw-dropping technical mechanics of the guitar work, that shake apart their sonic space. Kingdom Of Conspiracy is nothing short of this same framework, all created with technicality and an enjoyable simplistic harshness that flows throughout its tracks.
The album has sublime moments of breaking away from the traditional Immolation sound, with a new set of songs that work together with great depth – the listener can really get their teeth into these. With a sound noted for being familiar to Scandinavian bands such as Kataklysm, Kalmah and also the USA-based band Nile, Immolation deliver an accessible and constructive album that beckons the listener to listen again. The songs are well sculpted, and work as a unit as well as being individual slabs of heaviness that will get your adrenaline pumping pieces.
Kingdom Of Conspiracy opens by releasing all the stops in the titular track, which comes as a chaotic composition and a full-on assault to the ears. The piece paves the way for the rest of the album’s ideas and serves as a contents page to the concept album ahead, with its headstrong lyrics and slicing guitars. Technical and heavy tracks Bound To Order and Keep The Silence begin the album’s idea of song coupling with their enjoyably flamboyant high atmospherics that are packed with density and create a treat for the minds theater.
Whilst working through the album it becomes more apparent that the divine power play between concept and deliverance here works superbly, with the band using the ideas of concept to create something which explores the musical terrain they have set for themselves, and even push their own boundaries throughout the album. With tracks such as The Great Sleep, they explores the sweeping musicality of graceful guitar riffs and solid percussion.
From a production perspective, the album delivers a solid style that falls somewhere just short of totally clean, which suits Immolation’s sound. As the vocals are so nasty for the mix, it gives the tracks an all-important kick that turns the superb song writing into exceptional. Tracks such as Serving Divinity shows off this perfected production, with pure focus on having the vocals hold their own against the barrage of an apocalyptically crushing soundtrack.
The band’s ninth release is dystopian and bleak in its outlook – a slice of what is beautiful about this genre.
With its slick use of pop culture to inspire and a well designed musical formula, the band are onto a solid classic for the genre.