Grotesque in the embrace of evil rar

Privacy Policy. Buy from In the Embrace of Evil Grotesque. Songs Lineup Other versions Reviews Additional notes. Thirteen Bells of Doom instrumental loading lyrics Blood Runs from the Altar Show lyrics loading lyrics Submit to Death Show lyrics loading lyrics Fall into Decay Show lyrics loading lyrics Seven Gates Show lyrics loading lyrics Angels Blood Show lyrics loading lyrics Nocturnal Blasphemies Show lyrics loading lyrics Spawn of Azathoth Show lyrics loading lyrics Incantation Show lyrics loading lyrics Church of the Pentagram Show lyrics loading lyrics The drums were handled by session member - Offensor.

I have to admit that this part of Grotesque's history is my favourite. The Haunting certainly added something new to these three songs and the music just became more interesting and kind of advanced. Many variations within the songs, tempo changes, some more twisted riffs, harmonies, very cool leads And that Sunlight Studio sound Besides, with songs like "Incantation" and "Spawn of Azathoth" it's undeniably brilliant.

Grotesque never sounded like Nihilist or Therion, their music on the whole "In the Embrace of Evil" is much more evil and sinister that everything else, it's almost possessed sometimes. Maybe it's also a bit difficult to get into on the first listen, but only if you prefer more melodic and catchy stuff. After the Sunlight Studio Grotesque split up. The album was never released. They were "Church of the Pentagram" and "Ripped from the Cross", so two of the very earliest Grotesque songs.

And man, what a stunning result, I just love these two pieces. The sound quality is great. Both songs, even though are so old, have been rearranged and definitely the band did great job with them. It's not the same as their old rehearsal versions. Maybe some people will prefer the old rehearsal versions, I don't. These new recordings definitely captured the essence of old Grotesque and with such good production, it all clicks fantastically.

Obviously it was also the last thing, which this band has ever recorded. Luckily it doesn't seem like they would ever want to exhume it from the grave again. I've waited a long time to lay my hands on this one, seeking down expensive and rare copies of it on CD, before finally finding it with At The Gate's Gardens of Grief for a much better price than I had previously imagines.

And was it worth the wait? Fuck yes! The songs on this release are from several different periods in the band's evolution, so the sound can vary quite drastically.

Earlier songs really bring to mind Sepultura's Bestial Devastation in terms of production and playing, with quite a few mistakes that are easily overlooked in favour of the absolutely badass rawness of this album. The songs are rather technical, both in terms of structure and riffing, which weave asphyxiating tentacles around your neck and drag you into this nightmarish journey.

Tomas Lindberg's performance isn't too deathly, nor screechy, but a perfect, schizoid mix of the two, barking out a incessant malevolent lyrics to terrorize you. Acoustics pop up in a few places, but only once or twice, and to great effect, and there are one or two tasty leads that give a very, very brief sense of melody amidst the chaotic whammy dives and shredding that dominate. Keyboards are also featured, very sparingly, I may add, but also to great effect, not a stone's throw from Dark Throne's Soulside Journey.

Two elements that really impress me here are the guitar tone and the drumming. That guitar tone is thick, kind of muddy and slick, similar to ATG's debut album, but a dead ringer for Liers In Wait well, Necrolord was the guitarist and chief song writer in there too. On the earlier tracks, you can definately tell the production wasn't the best, because it doesn't have the sustain it could have, but you still have that thick sound.

A few of the tracks feature Alf Svensson, and those are quite interesting, because you can hear the great difference between Necrolord and Alf, both of whom play different riffs, much like early ATG, but much more evil, of course. I'm not sure who drums on all these tracks, and I was hoping that it was Shamaatae from Arckanum he was one of their early drummers , but who ever it is, they are certainly impressive.

The fills are all tasteful, and he never misses a beat. The blasting sections on some of the early material don't hold up very well, however, but that's about the only thing I can complain about on here. I have called this proto-death metal, because it's not quite the death metal you normally associate with Sweden, and has a lot of totally kick as thrash-y riffs.

Imagine if Morbid Angel had taken a different, slightly slower route after Abominations of Desolation, and inserted a bit of early Sepultura and Sodom into their mix This is evil, twisted death metal, the way it is supposed to be done, and is absolutely mandatory for all fans of Scandinavian metal in general.

Though Lindberg has been involved with multiple memorable acts, one of his first groups remains an unearthed gem that many folks have either ignored or forgotten about. Before At The Gates became metal champions, Lindberg was apart of a band that has been repressed and omitted in the metal world as we know it: the mighty Grotesque. For those unfamiliar, Grotesque was a pitch-black death metal squad that only lasted a few years before splitting up.

Though the band's era was brief, Grotesque recorded an EP and a handful of demos that were monstrous hits in Swedish underground. The faction disbanded shortly thereafter, but the narrow time the band existed was a damn good period of hearty death metal.

With the group clearly done and gone, a compilation titled "In The Embrace Of Evil" gathered all of Grotesque's blasphemous material and added to one unholy disc that shows the onslaught and potential this awesome act was capable of. Grotesque played a magnetic type of death metal with present traits of black metal and thrash during their few years of activity.

There are hyper-speed riffs from start to finish with some acoustic parts occasionally tossed in for haunting effects and added seasoning.

A few of the tunes have a fantastic transition of explosive, speedy riffs that switch to a mid-paced rocker which continues to repeat like a swinging pendulum. The solo effort walks hand-in-hand with the riffs in terms of excellence and the euphoric impression it leaves upon the listener. The percussion sounds rather comparable to other death metal bands, but the outstanding alteration between blastbeats and fast patterns make the drumming sound surprisingly delightful and original.

I typically find intro tracks to be a waste of time, but Grotesque was able to make some the most masterful admission songs I've ever heard. The compilation opens with the haunting "Thirteen Bells Of Doom" that has faded goat bleats and dark church bells whilst "Seven Gates" uses a whispered prayer that's surrounded with mysterious acoustic licks and samples of falling rain.

Though almost all of the stuff here is death metal, a few of the songs sound more thrash influenced than anything else. Tomas Lindberg's vocal style during his extraordinary phase in Grotesque sounds nothing like any of his other singing performances. Lindberg is mainly known for his association with the "feather-weight" growling approach he used during his stay in At The Gates, but here, Tomas sounds like Satan himself. Tomas's deep, tortured growls parallel the ruthless death metal assault on every level with memorable utilization and flawless precision.

Lindberg will also occasionally mix up his vocal performances by adding shrieks or morbid laughs to his already stellar growling. Call me crazy, but this anthology is some of the best stuff Lindberg has ever done. It's a real shame that Grotesque was shunned from reality only after a few years of existence. A lot of the stuff here is just demo material, but the song writing and playing is better than what some bands could produce in a career.

Try to hunt this one down! All I can say is, "Wow. This is one of the greatest bands ever. It's a shame that they didn't release more material. This is a nice mix of black, death, and thrash metal.

Vocally, it is blackened death metal. I like Tomas Lindberg's vocals more here than in anything that he did with At the Gates. Very thrashy guitar riffs abound, pushed along by the fast-paced drums. An evil overtone pervades the atmosphere on this album. The production is great, though it varies a bit between the different recordings.

It is truly a sad thing that this band didn't last longer. They could probably be one of the bigger bands of today if they were still around. Underground heroes are a must though. Metal Archives loading Username Password Login. Bands alphabetical country genre Labels alphabetical country Reviews R. Privacy Policy.