It is rare that so many disparate sounds and genres are combined as successfully as they are on ETERNAL DEFORMITY’s "Frozen Circus." A song like “Unholy Divine” might be a complete mess if it were recorded by a less talented band. ETERNAL DEFORMITY, however, are competent enough to take multiple vocalists (and vocal styles), elaborate keyboard playing, crunching riffs, intricate lead guitars, and integrate them into one cohesive piece of music. “Little 15” is able to alternate softer, understated passages with bombastic sections (including some dexterous soloing). This schizophrenia, rather than be a detriment to the band, is actually part of the group’s charm and is key to their success. It gives the band a distinctive identity, separating them from the sea of indiscernible Metal acts, including many that call themselves “avant-garde.” It is also fortunate that the album has enough heft and power to still be considered Metal, never descending into uninteresting wankery or wet noodle-like Prog sections. ETERNAL DEFORMITY is smart enough to give their ridiculousness a solid base to build from, resulting in songs that are just as catchy as they are unique.
Those who like their Metal unadorned and unadulterated by inventive and melodic influence will probably overlook "Frozen Circus," and that is a shame. The entire proceedings are unabashedly enjoyable in their absurdity. The title of "Frozen Circus" becomes exceptionally apt in songs like “Crime,” as the keyboards produce a frenetic, circus-like harmonium melody. Time and again, the songs bring to mind images of the kind of insane carnival that ETERNAL DEFORMITY would likely frequent. This unifies the album into a single, mad experience, which is a rather impressive accomplishment considering the glut of different sounds perforating every song. "Frozen Circus" could have sounded disjointed and forgettable, but instead, it is cohesive and focused.
(Online March 19, 2008)