Worshippers of the Seventh Tyranny
Singapore’s Impiety is the longest running extreme metal band out of the country, desecrating and destroying those in their path since their formation back in 1990. Their musical direction has seen numerous shifts, from their black/death metal demo Ceremonial Necrochrist Redesecration to the black metal debut full length, Asateerul Awaleen (which also happen to be my favourite release by them), to the later black/thrash metal style, reminiscent of bands such as Infernal War.
On their aptly titled seventh album, Worshippers of the Seventh Tyranny, they once again reinvent the wheel by having the entire album in a single 38 minute track. Even though the band breaks down the song into seven different parts, it is essentially a single track with no breaks in between, with either guitar solos or drum breaks as the transition between parts of the songs.
The album starts off with the drumming at the background by drummer A. Janko before the main riff is introduced to the listener (which will be the running theme throughout the entire album). As Impiety mastermind Shyaithan’s vocals come in, the first thing that one realises is the shift in vocal style. Unlike previous outputs of Impiety where Shyaithan spits out his lyrics furiously, Worshippers see him attempting a more aggressive style by slowing down and experimenting with different styles, such as the shouting at the 9 minute mark onwards (or part III of the VII part song). Longtime fans of Impiety fret not though, as Shyaithan’s trademark vomits are still present. Another prominent difference is the shift in the songwriting style – slower, more contemplative, less thrashy and chaotic. Guitar solos while not as fast as previous releases are more thought out, complete with harmonised lead guitar solos.
It also seems that on this release, instead of just head on aggression, Impiety has attempted to focus more on the atmosphere of the song, heavier and darker than on past releases. For example, there is the inclusion of synths at the background at parts of the album, something that is new (or at least uncommon) in Impiety’s music, but to good effect, enhancing the overall atmosphere. The song structures also seem to suggest so, such as the slowing down of the song and the drum break at the end of part IV (23:25 mark onwards) and the accompanying ominous background music.
Worshippers present a new face of Impiety to the crowd and this could possibly alienate fans who are impatient with the songs they listen to, and who are used to the face-ripping speed that they used to play in, on albums such as Terroreign and before. While riffs may seem incoherent on first listen, and get repetitive and even bordering on boring at times, if one is patient enough to sit through the entire 40 minutes, it is definitely a satisfying experience.
Views from the Pit: Asian Worshippers Tour 2011