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14 of 14 people found the following review helpful:
5.0 out of 5 stars
Get Buried, March 23, 2004
The key word when discussing Into Eternity is "diversity", and I don't just mean because they're Canadian. I've been a metal fan for a long time and I have trouble remembering any other bands that are this adept are incorporating so many varied elements into their sound. AS for what particular little sub-genre the band falls into, it's open to interpretation. Some say prog, others say technical or power metal. Call it whatever you want but, in my mind, Into Eternity deserves a genre all their own, because there are very, very few bands that sound as distinctive as they do. The wide range of vocal styles come from all five band members - some provide the clean vocals, some do the death growls, the lead singer can do both, and everything in between. For the best example of this vocal hybrid work, give a listen to the song "Beginning of the End", which probably features the most dramatic shifts in the singing. If you prefer more of the death style growls and gutturals, check out "Spiralling Into Depression" (probably the "heaviest" song on the album) or "Embraced By Desolation". Now as for the music itself, I don't think anyone will be the slightest bit dissapointed with the instrumental work on "Buried", because the whole band really shines. Right from the first notes of "Splintered Visions" you can tell the guitar parts are going to be impressive. Into Eternity is very skilled at creating highly complex riffs that flow seamlessly along with whatever style of song is being written. They maintain the speed and intensity of your heavier metal bands, without acquiring that "locomotive" type sound that chugs along in a clumsy way, that you see sometimes in your "traditional" death metal bands. (Into Eternity is by no means death metal, but since they do incorporate the death-style vocals, it is worth mentioning.) The string solos march on with a very clean, almost elegant sound that is almost liquid in their progression. These parts of the album bring to mind some power and symphonic metal bands like Therion or Symphony X, but with a wider range of styles. Other portions of the album carry a heavier sound with more of a technical flair, incorporating a number of influences to create a very focused and unique experience. They even dabble in acoustics on the track "Buried in Oblivion", which really serves as more of an intro for the next song, "Black Sea of Agony", which is one of the more powerful cuts from the record. A good piece of the great guitar atmosphere can be credited to good production, but I think the drum sound is a little understated, which can be a good thing, but once in a while I was looking for a bit more percussion to drive the songs forward. Make no mistake, every song on this CD drives forward like a battering ram, with or without the march-to-war drum style you find in recent bands like Mastodon. I'd much rather have a more subtle drum mix then the over-powered beating your ears will get from a record like Metallica's "St. Anger"All in all, I may like this album even more than it's amazing predecessor, Dead or Dreaming, but time will have to tell on that matter. If you don't have Dead or Dreaming as well as their debut self-titled album, those come with my highest recommendation as well. I don't really know which song to call my favorite from Buried in Oblivion, but I guess I would have to say "Spiralling Into Depression" and "Embraced By Desolation" are serious contenders. "3 Dimensional Aperature" is also very catchy and memorable, while "Isolation" is a nice dose of gloom wrapped in a power groove. You really can't go wrong, there are no weak songs here. And the diverse sound you get all the way through makes it seem like 3 or 4 albums in one, so it's not going to get old with repeat listening, at least not for a while. I will certainly be listening to it a very long while, I can tell you that. If you're still not convinced, check out the band's website at www.intoeternity.com and you can hear sound samples of every song from every one of their albums So don't miss out on this, it could very easily turn out to be ones of the best albums of 2004. Into Eternity is one of the best in a great group of emerging bands, and I don't think fans of any kind of metal - traditional, power, death, prog, or anything in beween - will be dissapointed in the slightest. Keep your metal collection diverse and complete with Into Eternity, you won't regret it. Metal forever \m/
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3 of 3 people found the following review helpful:
5.0 out of 5 stars
A punishing album, ay?, August 31, 2005
This quintet from Canada had a large part in my renewed passion for metal, and though their previous album, "Dead or Dreaming", was the one I heard first, it was "Into Oblivion" which commanded my attention.
First things first. Yes, this album is progressive, but for those of you who have never had a listen, it is much heavier than some of the progressive juggernauts named here. No, it is not simply the death metal vocals which create this difference, but the overall aggression, and influences pulled from both thrash and technical death metal.
And speaking of the death metal vocals, or, actually, all of the vocals...I love them. The multitude of voices (4 voices, 3 singers) creates a maniacal effect which matches the raging despondency and desolation of the lyrics. In my opinion, the way the lyrical content matches the tone of the vocal deliveries creates one of the most impressive ingredients of this album.
"Splintered Visions" immediately showcases the impressive double attack of Rob Doherty and Tim Roth. To see these guys work together on the stage is the definition of shredding bliss.
This song is basically a full throttle armageddon piece from start to finish with a catchy and well sung chorus, many fantastic breaks, a couple of blistering guitar solos, and a deadly avalanche of an ending.
The opening of track 2 reminds me of the "MOOOORRRTTAALLL KKKKKOOOMMMBBAATTT" song, which I think was written by Orbital. Again, we have a track with many impressive riff sections, and technical playing by all, even the prominently heard bass player!
Tracks three and four are probably my favorites. 3 Dimensional Aperture has a wicked exchange between the two death metal style vocals, with an undercurrent of pure headbanging down to the knees instrumentation as backup. I love singing along with the clean vocals in this song.
Beginning of the End hits from the opening note. The militant riffage/rhythm combined with the death metal vocals quickly morphs into a flourish of progressive guitar playing and almost swinging rhythm. The clean vocals on this track are my favorite, and though my voice leaves much to be desired, I cannot help belting them out no matter who I may traumatize.
After the first four tracks, I fail to find any one track that ever leads to me throwing this CD in the player. Don't get me wrong, Point of Uncertainty is still punishing, Track 7 probably lends itself best to all the Maiden comparisons made on this website, and the title track provides a much needed break from the headbanging to treat the listener to some impressive classical music guitar stylings coupled with some almost...what..could it be? Chicago-like vocals? It's just that tracks 1-4 each are among my metal favorites, and together they are more than worthy of earning a 5 star rating with the rest of the gems here.
Let's face it, not many bands would be willing to risk such a mix of death and progressive metal; stereotypically, each influence would turn away the die-hard fans of the other. However, Into Eternity manages to mix their technical skills with genuine fire to create a perfectly honorable descendent of two of the most musically impressive sub-groups of metal.
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2 of 2 people found the following review helpful:
5.0 out of 5 stars
Buried In Diversity, December 27, 2004
Blurring all borders and boundaries, Canadian Metal Monoliths Into Eternity have transcended the confining strictures of any given musical style, and in doing so have delivered what is undoubtedly one of the best albums not only of the year, but for years to come. Buried In Oblivion is a unique, technical, and uncompromising album of groundbreaking precision combining the virtuosity and structural evolution of Progressive Metal, the melodic yet dominant vocal harmonies of Power Metal, and the relentless driving brutality of unabashed Death Metal. Into Eternity have made every effort to bring a taste of something new yet dependable to the Extreme Metal scene, and this album is so well constructed and delivered that the listener is left with no doubt that this is a band whose sound, skill and quality can be counted on unconditionally.
Chances are, most of you have never heard this band and may therefore be like me in that your first reaction to the idea of "Progressive Power Death Metal" is a distasteful look of automatic dismissal or a gag reflex. I know I initially approached this disc intending to be disappointed; therefore I was all the more stunned when solid song after solid song came rolling out of the speakers. This is not a band that is predominantly one style. Every song incorporates groundbreaking compositions from each genre, and plenty of it. The part I most feared -- the Power Metal vocals -- turned out to be stunningly well delivered. Alternating clean lead vocals, vocalist Chris Krall and guitarist Tim Roth deliver some truly inspired singing, coming together frequently with utterly beautiful vocal harmony. Also thrown in the mix are three very distinct yet equally brutal Death Metal vocal styles (one of which is astoundingly similar to that of Peter Tatgren from Hypocrisy), courtesy of vocalist Chris Krall and guitarists Tim Roth and Rob Doherty. Now underneath, add a bounty of mind-numbing guitar virtuosity, expert and adventurous song structuring, melody-drenched solos, a tight low-end bass sound from Chris' brother Scott, and some impressive percussion by Jim Austin (the last two also adding backing vocals), and your mind is bound to be reeling. Make your way to the end of the disc, take all of the above into account plus the innumerable brilliant subtleties throughout each of the songs, and you'll find yourself scratching your head in disbelief. Not only do these guys make it work, but it works so well that they deserve to be classified in a field all their own.
As should be obvious by now, this band is not big on repetition or redundancy, and that shines clearly throughout the album. Starting immediately with a searing Progressive-laced guitar solo, "Splintered Visions" allows no time for false pretenses or misinterpretations -- this music is not to be second-guessed, so you might as well just lay back and enjoy the ride. The pace accelerates with "Embraced By Desolation," which offers extremes of both brutal Death and emotive Power vocals with a beautiful vocal harmony throughout the chorus. It is here that the lyrical aspects begin to take hold, instilling a growing sense of depression, sadness, loss and desperation -- a theme that carries throughout the album: "I see the nameless, I feel the soulless, embraced by desolation. Can't take no more desolation, self-murder, revelation." The first total aural beating comes in the next song, "3 Dimensional Aperture," a song written in memory of the passing of guitarist Tim's mother and guitarist Rob's father: "Gathered by the site with lonely tears, a fallen victim of life. Cut short, broken, cheated, banished by the light. A cold black grim stone's writing offers to remind -- The cold dark moist soil is where all shall one day lie." The song takes off at a brutal pace with one of the dominant death vocals coming in hard and gritty then shifting to a second higher and even more seethingly wicked death vocal. Running counterpoint is a great chorus with more of the clean vocal harmony and ample moments of moving guitar solo virtuosity.
Continuing to accelerate, one of the two best songs on the album comes rolling in like a stampeding horde of craven, ravenous, soul-hungry demons -- "Beginning Of The End." Carrying the best triple-death vocal assault on the entire album as well as one of the greatest solo breaks I've ever heard, this song hits hard and does not let up. The wailing brilliance and musical excellence continue at a steady pace throughout the rest of the album, hitting especially memorable marks with the rippingly heavy "Spiraling Into Depression," which also carries some of the most gripping lyrics: "Alone in your circle of despair your dreams are discarded. Clinging to a sterile existence, self-pity and lingering grief, depleted and beaten"; the title track "Buried In Oblivion" -- an entrancing, almost funerary, acoustic tune with more hypnotic vocal harmonies which carry smoothly into a second and heavier counterpart called "Black Sea Of Agony," complete with climactic guitar riffs, heavy growls and mournful vocal peaks: "The Skies are blackening. What was will never be. Sent out into the sea, my sails won't carry me. Lack of worth is all I know, this guilt out of control. The ocean crashes down again, a black sea drowning me." Closing out the album and driving the last nail into a coffin of sorrowful emptiness, the other crowning achievement "Morose Seclusion" settles you back down gently into the bosom of depression and solitude with some incredibly moving vocals and more beautiful acoustic passages. An ultimate album closer, this song is 50 lb. diamond in an album loaded with priceless gems.
At once sorrowful and uplifting, Buried In Oblivion is an extraordinary musical accomplishment in all areas -- vocal, instrumental, lyrical, and compositional. This is a must-have album for fans of every genre -- there's something in here for everyone; and you will be stunned at the adept dexterity by which Into Eternity transcend each genre to make a new breed all its own. Do yourselves a vital favor and discover the darkest depths of desolation and seclusion; give way to the tides of the Black Sea and Bury yourself in the Oblivion.
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