Krisiun - The Great Execution
It pains me to say this, as I’ve been a huge fan of this band since the beginning, but Krisiun sound really tired on this album. With 2008’s Southern Storm, I believe I said something along the lines of the band hitting a “creative wall.” Well, on The Great Execution, the band sound like they’re sonically putting up drywall. A few tracks still serve to impress. You wouldn’t know the dullness you were in store for judging by the vicious opening cut, “The Will to Potency.” The title track and “The Extremist” also stand out as great songs, but the album as a whole suffers from a very workmanlike deja vu. You’ve more or less heard Krisiun do all of these songs before. They seem to be merely going through the motions here. Which it should be noted, in all fairness, that these Brazilian psychopaths’ motions are by no means commonplace. It would take mortal bands aeons of practice to learn how to go through these motions. But the bar is raised for Krisiun by their own doing. The Great Execution basically features their two styles of recent albums mixed together. By that I mean the rapid fire speed and the start-stop breakdown tactics. Somehow it just feels tedious. Songs all of a sudden feel too long, even though they’re standard length for these guys (most tracks are five minutes or longer). A lot of this record sounds like an intro or a pre-chorus that just never breaks through or explodes. It even feels like drummer extraordinaire Max Kolesne is playing nothing but Tool beats the entire record. An endless sea of tribal tom fills. Of course that’s not all he’s doing, but that’s all I take away from his performance. The energy seems gone for some reason. Whether that be a slight change in production, me hitting the nail on the head about going through the motions, or maybe just my ever decreasing will to live, I simply don’t get my Krisiun fix from this Krisiun record. If you happened to track down the “limited edition digipak version” (aka: Jew version) with the “limited edition digipak bonus track” (aka: Jew track), which is a re-recording of the legendary “Black Force Domain,” maybe you’ll understand what I mean. The original song from that eponymous album sounded like jackhammering through the crust of Hell. It turned my stereo into a winged demon that flew away to cause limitless property damage while taking several innocent lives by breathing fire. The re-recorded version sounds completely sterilized by comparison. Better sound quality, but a band showing their wear and age nonetheless. I didn’t even realize it was the same song until the chorus hit. Something obviously needs to re-light the fire. May I suggest fatal amounts of blow? First degree murder? A bottle of Absinthe and some razor blades? Virgin sacrifice? All of the above?
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