Artist: The Kovenant
Label: Nuclear Blast
Release Date: 11/16/99
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Title: Animatronic Artist: The Kovenant Label: Nuclear Blast Release Date: 11/16/99 |
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Abyss's Review:
After their amazing album, Nexus Polaris, Covenant return. Their moniker has been changed to The Kovenant due to the realization that that name was already taken, but that is far from the only thing that has changed. Nagash is now Lex Icon, Blackheart is now Psy Coma, and the artist formerly known as Hellhammer is now Von Blomberg…interesting. I'm assuming the name change is to underline the fact they have taken on a drastically different sound and look. (I guess it doesn't bother me, I just feel sorry for their parents, to give up their given Christian names must have made them feel bad.) Anyway, I digress… Their new look cannot help but bring comparisons to Marilyn Manson, what with the psychotic, futuristic, androgyny thing going on; hell even the album's title Animatronic is suspiciously along the same lines as the aforementioned's Mechanical Animals. So on to the big question, "How does the music measure up?" Surprisingly well, actually. When I first heard that the neo-black metal from their previous recording had been abandoned for a more mechanized, even techno sound, I have to admit I was a little suspicious. Some bands have made the transition well (Samael), but none have been so drastic, so quickly. This is not a change that evolved over the course of a few albums, pretty risky if you ask me. But The Kovenant deliver. The biggest reason for this is that they seem to understand the genre they've chosen to incorporate. Short, relatively simple, guitar riffs have been placed above the industrial drumbeats, creating a catchy, poppy sound. This would, in many cases, disgust us metal faithful, but The Kovenant have done something very important to maintain integrity. Many metal bands make the dreadful mistake of, when changing styles, removing the emphasis of the guitars. Big mistake. We're metalheads, for hell's sake, we want guitars! Thankfully, this album continues a thick, distorted guitar sound, even if it does put it in a pretty setting. The only album I can really compare this to is The Nefilim- Zoon. That album, I feel, is defining of the genre, but our centerpiece here, differs in many ways. Animatronic is much lighter (in terms of mood), and incorporates many black metal nuances. The keyboards and female vocals are almost out of place among the tech-driven rhythms, but this is probably because we've never heard them together like this. Also present are guitar solos. This was shocking due to the fact a lot of black metal doesn't contain such celluloid theatrics (to it's detriment), and industrial/techno is all but devoid of solos, which is also unfortunate, because, as evidenced here, they can be incorporated quite effectively. The biggest problem with this album is the inherent catchiness can easily lose its novelty with repeated listens, but this is something that only time will be able to tell. I've listened to this whole album four times all the way through, and it hasn't happened yet, which is a good sign so far. Standout tracks: "Jihad," "The Birth of Tragedy" and "Sindrom."
"I guess the band members' name changes don't bother me, I just feel sorry for their parents."
Death's Review:
Much has changed since the release of 1998's Nexus Polaris for this all-star black metal-- oops, I mean "progressive space metal" outfit. Unfortunately for some, it's not just the new name. Yes, my friends, Covenant, as you knew it, is gone. In their stead, ready to usher in the new millennium, say hello to The Kovenant.
Change hasn't been limited to the band name. The members who survived the lineup changes (now referred to as Lex Icon, Psy Coma, and Von Blomberg; formerly Nagash, Blackheart, and Hellhammer, respectively) have abandoned their former image for an easier-to-digest package for the post- Marilyn Manson universe. Yes, gone is the old name, the old logo, some of the old band members, and even the remaining band member's names. But most radical of all, The Kovenant have a brand new sound.
"At times it sounds full-on metal, at others it sounds like a disappointing follow-up to the Wipeout video-game soundtrack." Essentially, Animatronic delivers the core elements of the Covenant sound while blending in a heavy dose of industrial leanings. Particularly evident in the Von Blomberg drumming, Animatronic produces a highly original blend of mechanized black and traditional metal elements.
What remains ends up sounding like the bastard child of King Diamond and Destruction's Schmier singing over intricately-picked right hand guitar gymnastics, superimposed over a techno disco beat and surrounded in choral and keyboard "atmosphere" for good measure. At times sounding full-on metal, at others sounding like a disappointing follow-up to the Wipeout video-game soundtrack, The Kovenant is clearly a band not bound by traditional metallic limitations.
While Animatronic is at times interesting for its brave fusion of these seemingly disparate elements, it just does not work for me. Ultimately there are too many haunted-house, ascending/decending scale keyboard lines, and goofy-gothic female vocal stylings to spend too much time on my playlist after I'm through with this review. Moreoever, while I am open to the melding of techno and metal, even appreciating portions of Fear Factory's ReManufacture, here the quality of the riffing almost begs for a less-programmed drum sound. A killer thrash drummer would have a field day with these riffs, which are under-utilized throughout by a total lack of double-bass drum pounding to back them up. It is, unfortunately, in the drumming where this album truly comes up short. Sure, the first track, "Mirror's Paradise," comes out of the box with a pounding intensity that, if stripped of the choral stylings and keyboard meandering would have to be taken seriously. And tracks like the ending "The Birth of Tragedy" have an almost Faith No More rock element to their delivery, while the main riff to the once-rumored title track "Prophecies of Fire," or the general vibe of "In the Name of the Future," represents, at least in the riffing, thrash metal intensity at its finest. In many respects, I should like this record -- several elements are in place. Unfortunately, so are several others, and at the end of the day, this one does not deliver for my "loud guitars, huge kits and stacks of Marshalls" mentallity. Plain and simple, I just do not buy into what these guys are selling.
"After about ten or fifteen spins, I'm still not into the songs." I do have to give some praise to Lex Icon, whose vocal stylings are quite interesting throughout. At times annoying, others just wierd, he does at least emote and bring variety to every track. He alone deserves s skull. Tracks like "New World Order" or the beginning lyric to "Spaceman" illustrate this nicely. And the guitar riffs, if taken alone are incredible. Add to it Psy Coma's occassional ripping guitar leads, and we'll toss a skull his way for the guitar parts as well. But overall, there's nothing more to give. After about ten or fifteen spins, I'm still not into the songs. An original effort, but one I won't spend too much time listening to.
Rating Revised for Metal Judgment Anniversary
Hel's Review:
Techno Black Metal? The Kovenant's new release combines two forms of music that, when first considered, you may not necessarily think should go together (or at least those of you who despised Fear Factory's De-manufacture certainly won't think so). The result is a creative blend of both, with black metal coming out on top in this equation.
The album, despite its techno background noise, is undeniably black metal. And good black metal at that. Before I speak further, I must momentarily dwell on the name changes that have taken place. The reason for the spelling change in the band name is well known and understandable. The change in the band MEMBERS names is mostly confusing.
"It's disappointing that, as my tolerance wears, I am no longer fully able to enjoy the album." There are numerous stand-out tracks on this album and quality musicianship throughout. "Psy Coma," with his vocals oftentimes reminiscent of the great King Diamond, evokes a passion that matches the music and the equally passionate peformances of his bandmates "Lex Icon" and "Von Blomberg." "Prophecies of Fire" features a keyboard melody lifted straight out of a fun house, for those of you looking for that, and there are spooky-pseudo-operatic female vocals, for those of you looking for that, all over the record. And TECHNO! Lots of techno.
Unfortunately, by the end of the album, I find myself remebering why I don't personally like techo - that incessantly annoying repetitive backbeat. If you are very tolerant, there's enough breaks from techno for you to be able to enjoy this album all the way through. It's disappointing that, as my tolerance wears, I am no longer fully able to enjoy the album. And that is particularly disappointing because the last tracks are some of the best. It's hard for me to say this, but the longer the techo beat pounds into my brain, the more I feel my personal preference forces me to take a skull off what would have otherwise been a great record.
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