THE ORPHEUM PRESENTS:
THE DECIBEL MAGAZINE TOUR - FT. Kreator
Obituary, Midnight, Horrendous
Sun · March 19, 2017
6:00 pmThe Orpheum
This event is all ages
THE NOISE PRESENTS:
THE DECIBEL MAGAZINE TOUR -
KREATOR's, who fascinatingly succeed in exploring new horizons while challenging and reinventing themselves time and again, resulting in high impact results - as is perfectly illustrated by their new record Gods Of Violence (out on January 27, 2017). With this 14th studio album of their impressive career, the thrashers from Essen, Germany have crafted a work of art of utmost vigor, drawing its unfailing power from the pounding heart of one of the greatest, most versatile metal bands of all time. Gods Of Violence lives and breathes!
As is often the case, it all started with a good idea. KREATOR mastermind Mille Petrozza had followed the latest news with growing concern. Especially the November 2015 Paris attacks made him realize that there had to be a continuum of human malevolence, running like a thread through the ages, from ancient times up to the present day. These thoughts led Petrozza to interlocking current events with tales from Greek mythology, eventuating in the song Gods Of Violence that was consequently chosen as the album's name giver. "Currently, religion has regained a level of importance that I would have never considered possible 20 years ago," Mille states. "An extremely dangerous polarization is taking place, giving rise to growing hate among us all. That's what I wanted to write about."
Like this, a key note of the album was found that is also reflected in the sheer brutality of "World War Now", among others. The song's deriving from the observation that we're in the middle of a World War III of sorts, but not in the way we've always feared: A-bomb dropped, humanity wiped out. "These days, our weapons of mass destruction are called hatred and religious delusion," says Petrozza. It's a vertical war, being fought by the media as well as by fanatics of all shades.
The intro leading to the opening track "Apocalypticon" is already setting the proper bombastic pace for the album's basic idea: Marching drums and a Wagnerian choir are opening an extraordinary metal masterpiece that's contrasting brutality with fragility, excelling in an exemplary handling of momentum and dynamics. Even "Death Becomes My Light", the final eight-minute-epic dealing with a near death experience, is not a single second too long: Gods Of Violence flashes by like greased lightning.
The ability to form universally comprehensible messages out of such sophisticated trains of thought as found on Gods Of Violence has always been one of the traits of a man whose pop-cultural universe ranges from Hannah Arendt, PINK FLOYD and TOCOTRONIC to SLAYER. Mille Petrozza was born and bred in the metal scene. Nevertheless, he is and always has been open to inspiration from various sources, which is why his lyrics on this album are by no means merely based on corny genre templates but offer trenchant observations of our time combined with a witty advance towards inflated cliches: One of the best songs on Gods Of Violence is really called "Satan Is Real".
Finishing Gods Of Violence took the band - featuring Petrozza, Sami Yli-Sirniö (guitars), Christian "Speesy" Giesler (bass) and Jürgen "Ventor" Reil (drums) - about three years. After Petrozza had pre-produced all of the eleven tracks in winter of 2015, KREATOR went to Sweden in order to team up with legendary metal producer Jens Bogren in his Fascination Street Studios once again. What emerged from the recording sessions was bound to fundamentally redefine what KREATOR is all about. An opus that surprises with some lines in German and an unexpected guest in the form of indie pop artist DAGOBERT. Moreover, Italian death metallers FLESHGOD APOCALYPSE lent a hand with the orchestral parts of four songs and 12-year-old Tekla-Li Wadensten played the harp for Gods Of Violence
Although it's breaking new ground in many respects, Gods Of Violence can still be considered characteristic for a career shaped by ambitious ventures and artistic risk: discontinuity is KREATOR's one true continuum. Gotten together in 1982, Petrozza and Jürgen "Ventor" Reil - the only two remaining founding members - have come a long way from playing in a small-scale student band. "In my history book, KREATOR didn't really exist until 1985," says Petrozza, laughing. "Although we had already started jamming together in '82, we only entered the stage two or three times up until '85. Back then, our set list consisted of five original tracks and five heavy metal cover songs, we went through several line-up changes and didn't really find ourselves until »Endless Pain«."
In fact, it wasn't until said debut album that the name KREATOR was established in the first place. Before, the combo had been known as TORMENTOR. The early years were defining ones all the same: "None of us knew how to play our instruments properly back then," Petrozza remembers. "Though we were a pretty mediocre student band indeed, we taught each other how to play - it's stuff like that you bond over." This early stage laid the foundation for an exceptional career that would see KREATOR rise to become part of what's to be considered the German equivalent of the Californian Big Four (METALLICA, SLAYER, ANTHRAX, MEGADETH) of thrash metal - the Big Three of German thrash, alongside SODOM and DESTRUCTION.
In 1989 Obituary released their debut album, Slowly We Rot, a death metal milestone. Brilliant in both its complexity and brutality, Slowly We Rot gave us but a glimpse of things to come. They followed it up in 1990 with Cause of Death, which saw Allen West replaced by former Death guitarist James Murphy (Cancer, Disincarnate) and bassist Daniel Tucker replaced by Frank Watkins (Hellwitch). 1992 saw the release of The End Complete and showcased the talents of a band clearly at the top of its game. With the departure of Murphy and the return of West, The End Complete is vicious and tight ripe with intensity. In 1994 death metal fans were treated to both Don't Care and World Demise. After a three year hiatus, Obituary returned with Back from the Dead, proving that old habits die hard . . . and heavy. Back from the Dead was unrelenting in its power and craftsmanship, proving once and for all that the band that started it all could still do it the best.
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