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1 tablature for Dismal Euphony


Dismal Euphony - Python Zero (7/10) - Norway - 2000

Genre: Gothic Metal
Label: Nuclear Blast Records
Playing time: 43:11
Band homepage: -

Tracklist:

  1. Critical Mass
  2. Python Zero
  3. Zentinel
  4. Needle
  5. Magma
  6. Birth Reverse
  7. Plasma Pool
  8. Flyineye
Dismal Euphony - Python Zero
"Python Zero" - Now do lovers of reptiles already number their favourite snakes?

"Dismal Euphony" - Does the band try to tell us something with this?

"Zentinel" - Does somebody have a problem with orthography?

So many questions, but who the hell is interested in the answers? Oh, another question...

If you ask yourself now, what this has to do with the latest CD of DISMAL EUPHONY, then I'd be highly interested in the answer, because I've got no clue at all.

"Python Zero" is the fourth album by the Norwegians and even though I usually like Gothic Metal with male and female vocals very much (see TRISTANIA or THE SINS OF THY BELOVED, AFTER FOREVER or earlyfrühe THEATRE OF TRAGEDY etc.), I never got into DISMAL EUPHONY, already their debut "Soria Moria Slott" had something that prevented it to correctly enter my ears, but I couldn't name what it was and just the same happens with this one. According to the band, this is neither "a Black, Gothic, Darkwave or Death Metal-album", which is true, it's a little bit of everything - and add a shot of Electronica to it.

The opener "Critical Mass" is more rocking than "All Little Devils" had been, but also uses crunchy double-bass and also unleashes the Black Metal-club, the vocals are shared by Anja Natasha and Ole K. Helgesen. The latter has more room for his part in the following title-track, where the chorus-riff shoots right into your brain, nice. While "Needle" sees reduced heaviness and a bigger role for Anja (what is good in my ears), "Birth Reverse" is far too electronic for me, until now I haven't discovered any band from this genre that hasn't kissed the road after trying out something like that, but it might only be me. "Plasma Pool" then gives full power, the Black Metal-portion almost reaches "Soria Moria Slott"-dimensions before a nicely rhythmic/melodic part in the middle offers us a welcome breather.

Well, and "Flyineye" at the end really takes the cake, because like correctly written in the info, this track oozes Western-feeling, because the melody seems to come straight out of one, good one!

Overall it's just like the three times before, the sound has something that denies my request for entry, so to end the review as it has begun, a question: What?

Alexander Melzer



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