Communion: Metal's Unseen Gem
Septic Flesh Create Progressive Album through Death Metal Brutality
Jul 20, 2008
There is nothing like the thrill of hearing a new album for a metal head. Yet, even the most well-versed and dedicated metal fans can agree that listening to an entire album all the way through can be quite challenging. Unfortunately, metal albums have a habit of becoming repetitive due to lack of ingenuity and lengthy song duration. However, every once in a while, there comes a record that is so innovative and creative that it becomes nearly impossible to stop listening to. The 2008 release of Septic Flesh’s Communion did just that.
Just Another Oddly-Named Band
Septic Flesh formed in 1990, hailing from Athens, Greece. Despite their furious sound and unique experimentation, they’ve remained relatively unknown in the world of extreme metal. The band faced a rocky career and numerous line-up changes, including female vocalist Natalie Rassoulis for two albums, The Ophidian Wheel (1997) and A Fallen Temple (1998).
After almost fourteen years together, the band officially split in 2003. After working in several side projects such as ChaoStar, Nightfall, and Firewind, the band reunited in 2007 for the Metal Healing Festival in Greece, and proceeded to record Communion under the French label Seasons of Mist.
Progressive in Four Minutes
Although Septic Flesh is technically considered a death metal band, it goes far beyond such restrictions on Communion, featuring an orchestra of eighty musicians and a chorus of thirty-two vocalists. Each song incorporates various elements, including iconic death metal drumming and vocals, melodic vocals and guitars, symphonic components, and bizarre time signatures. In a sense, Septic Flesh has achieved a progressive metal vibe without the tedious song duration and an epic ferocity.
Septic Flesh’s Sensory Beat-Down
The first two tracks, “Lovecraft’s Death” and “Anubis,” start the album reasonably on the brutality spectrum, incorporating both clean vocals and death metal growling, as well as the orchestral element and other sound effects.
Then the album takes the viciousness up with “Communion,” “Babel’s Gates,” and “We, the Gods.” These three songs are remarkably dissimilar, but maintain the same strength and intensity. A highlight of the album appears in “We, the Gods,” where the track slows down in the middle and brings in the eerie—even frightening—orchestra and chanting chorus. These elements, along with the all-too-convincing growls of Sotiris Vayenas create the effect of a cultish ceremony gone wrong.
The album begins to lighten up with “Sunlight Moonlight,” which incorporates more clean vocals and easily accessible riffs and chord progressions. At this part of the album, it becomes difficult to believe one is listening to the same band. The difference is so stark yet appropriate and keeps the listener interested. Both death and power metal mix to shape the album from here on out.
The next track, “Persepolis,” again nosedives down into the darkness with harsh vocals and a sinister symphony. Yet, the rollercoaster continues as “Sangreal” follows with more clean vocals and light chord sequences. Finally, “Narcissus” closes the album in a completely different fashion from its opening. Warning: the listener may feel disoriented and amazed at the versatility of this one album.
Despite Septic Flesh’s ingenuity and relentless musical power, the album does suffer from metal’s typical lyrical content. Every metal head enjoys tales of ancient Egypt, dragons, and mythology, but it seems every band adheres to this style nowadays. However, instead of sticking with one theme and beating it to death, Septic Flesh experiment with different subjects, from the death of American author H.P. Lovecraft to the tragic tale of Narcissus and Echo.
Septic Flesh Destroy Metal’s Boundaries
Communion remains below the radar, even in the metal world. This reality is a shame, for Septic Flesh successfully cross metal boundaries, creating an album any metal fan can appreciate. Each track can stand on its own, making this album complete, dense, and beyond brutal.
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