Artist: Alas
Label: Hammerheart Records
Release Date: 6/19/01
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Title: Absolute Purity Artist: Alas Label: Hammerheart Records Release Date: 6/19/01 |
Judgment Committee Reviews | Rating |
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Abyss's Review:
Having read little about this band before actually getting the CD, I heard the name Erik Rutan of Morbid Angel and Hate Eternal, and I just assumed it would be some form of American death metal. Well it just goes to show you that you should never assume anything, it makes an “ass” out of “u” and “me” (it also makes “a” “sum” of “Ed”, whoever he is.) Anyway, this is rather far removed from death metal. Of course it’s hard to categorize this type of music, but I’ll try to do it anyway (because the bands hate it). This album is predominantly atmospheric, melodic metal and in many ways reminds me a little of Opeth, musically at least.
"Her angelic voice caries the melodies across the rough landscape of gritty, metered guitars." Of course the vocals aren’t what I expected either. The evil death growls that I was expecting never materialize, as it turns out that the vocal responsibilities aren’t even male in origin. Yes it turns out that, alas, Alas’ singer is… well, a lass. Her angelic voice caries the melodies across the rough landscape of gritty, metered guitars. Now, when it comes to female lead singers I have mixed feelings. At first I was a big supporter of the entire movement. I felt that the introduction of menstrual wrath was a fresh (poor choice of word) idea, and many bands benefited greatly from this new perspective. Then, however, it seems that every band in the world jumped on the bandwagon and forgot that female vocals alone do not add depth to music.
Well, Martina Hornbacher Astner, the vocalist on this effort, is restoring my faith in the trend. Aside from having far too long a name, she has a voice that not only fits the music, but also is quite pleasant to listen to. Her vocals come across in two forms, a lower, steadfast delivery somewhat like The Gathering’s Anneke, and an ultra high pitched, whispy chant that sounds like it would fit better with Nightwish’s last album. While the latter style I find tedious and distracting, her normal voice is so mesmerizing that it totally compensates. What I like most about her is that she seems more intent on complementing the music than trying to stand out on her own, like so many aspiring singers do. And it is with this humility that she makes herself that much more impressive.
"No, it’s not the heaviest thing out there, but it’s far from tame. One word review: Awesome." According to the liner notes, all of the writing chores on this record are handled by Mr. Rutan, and I’ll be damned if he hasn’t crafted one Hell of an album. I’m a little ashamed to say that I didn’t think that he had this kind of range in him, but I’m so glad to be surprised. This is an experience that you don’t want to miss. No, it’s not the heaviest thing out there, but it’s far from tame. One word review: Awesome.
Death's Review:
Erik Rutan's (Morbid Angel, Hate Eternal, Ripping Corpse) latest project, Alas, is not exactly the next-level death metal machine we've come to associate with the guitarist. Instead, Absolute Purity is a complex and multi-dimensional aural journey featuring the choral/operatic lead vocals of Martina Astner; yet this same record somehow still possesses a killer Watchtower/Athiest-esque sense of jazz-inspired yet warped, metallic musicality; all the while never losing the Blind Guardian, Lacuna Coil and Gathering fans along the way. When's the last time you heard that? Certainly, Alas are 180 degrees from Morbid Angel, at least on paper. Close listens to Absolute Purity will reveal a similar spirit embedded in some of the more precise yet grinding riffing. You can find some of the expected Morbid-style Florida death riffing at spots, and - better yet - can even find sick, Bay Area thrash-style, technical riffing - just tune in about the 3:40 mark on "Endlessly Searching" and then just kick back and absorb a modern production version of Forbidden's Twisted Into Form as you amaze at the intricacy and delicate guitar work at play in the midst of this beautifully sung and classically influenced music.
"Many of you out there are really going to like this record - if you ever get a chance to hear it."
Alas at times carry the spirit of John Arch-era Fates Warning, at times feature a haunting King Diamond/Mercyful Fate-style vocal ("Tragedies"), at others sport the cool bass tones of Opeth's Blackwater Park or the incessant double-bass intricacy of the more evolved Florida death metal acts, while all the while coming across far "artier" than any of the above might otherwise suggest. I've never heard such a fusion, and overall, it is surely not to the "normal tastes." In fact, I'd go so far as to say that it takes a few listens to absorb Alas, although, to the band's credit, the need for a deeper level of commitment should be apparent from the first listen. Many of you out there are really going to like this record - if you ever get a chance to hear it. Should you take particular note and seek it out? If you agree with the concept of metal as high art-then yes; if you would like to hear female vocals over Death's The Sound of Perseverance-then yes, you definitely want to check this one out. Nu-metallers will want to stay far away, as will those of you who are exclusive to the cookie monster vocal brigade. For the rest of us, start listening now so you will have digested Absolute Purity enough by December to give it its proper place on your year-end list.
"Start listening now so you will have digested Absolute Purity enough by December to give it its proper place on your year-end list."
Hel's Review:
Favorite track: "Longing for Destiny"Let me just cut to the chase here. Any habitual reader will tell you that I pick on singers more than any other musical element on any given recording, and this time will be no exception. I'm confident that my personal history has a great deal to do with my sensitivity in this area. Occasionally, I will even have flashbacks to childhood or adolescence on the mere basis of a certain singer's voice. This is particularly true with female vocals, and I know that this is because I am also a female. So bear this in mind as you read my criticisms, and gauge your own potential sensitivity accordingly. When I heard the vocals on this record, I had another one of those flashbacks. All I could hear was an old vocal teacher screaming "Breathe from your diaphragm! From your DIAPHRAGM!!"
Complaint about the singer #1: she clearly sings from her chest, particularly on the high sections, so she is unable to deliver the notes with any power, and her voice is annoyingly airy as a result. Complaint #2: she is continually struggling with her pitch, frequently hitting notes too sharply, flatly, or worst of all, sliding her way to a note - my analysis: total lack of control. My old vocal coach would cite #1 as the reason for #2. Complaint #3: she is obviously a natural alto, but attempts to sing almost all the parts in the soprano range anyway. This is most obvious when, during "Loss of a Life", a high and a low vocal line are overlaid, and it becomes clear that she is unable to harmonize with herself. I know this all troubles me so much because of years of being berated myself, not to mention listening to others being berated, for these very mistakes. However, this knowledge cannot dull the nails-scratching-a-chalkboard kind of pain that it causes me to listen to her sing.
"The songwriting is excellent, with amazing intricacy underlying each guitar, bass, keyboard, and drum line on each and every song." The rest of the album is incredible, and contains some of the best musicianship I've ever heard. The songwriting is excellent, with amazing intricacy underlying each guitar, bass, keyboard, and drum line on each and every song. If I had the ability to extricate the horrible screeching from the equation, I know I would have been enthralled from beginning to end. At those times when she sings within her range, I can hear the amazing potential this band has as a whole, and the brilliance of the lyrical meaning shines through. Then she'll resume some sort of out-of-tune hooting or screeching, and all I can think of is how nice it would be to sit her down and explain that hitting a note and properly executing a note are two very different things.
In sum, I feel that Alas basically amounts to a phenomenal musical bed for a rather mediocre singer. People who are more flexible in their feelings about vocals will undoubtedly be drawn in, and as well they should. Alas will be an amazing, incredible band to some, and I think others will come away with the same complaints I have. I walk away from this experience with a new respect and appreciation for formal music lessons - the clear contrast on this album between the haves and the have-nots, so to speak, in this band has put it all into perspective for me. Buy this one for the consistently amazing guitar, bass, and drum lines, and the astounding songwriting, for they are actually worth the suffering the vocals may cause you. And they are the ONLY reason I am giving this album this many skulls.
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