July 2000 Showcase - Angel Dust - Enlighten the Darkness

Once a thrash band, always a thrash band.... even though Angel Dust has shed the typical thrash approach they used in the 80s, when they were just another outfit in a sea of bands looking to cash in on the sudden rise of popularity for the likes of Testament, Megadeth and their brethen, this German well of talent still holds onto some of the chugging overtones that help characterize their music. When they re-formed and arrived on the power scene, with "Border of Reality", the reception was mixed. So called power metal had morphed into showcases of medieval majesty, while prog metal had become even more technical and at times simply abstract. Angel Dust was heavier than most of the Manowar spinoffs and didn't possess the qualities of musical self-gratification that plagued and defined sometimes for better, but usually for worse, the underground progressive scene. But the band took their newly formed style and hammered it into a fine tuned weapon, strengthened the impact of their choruses and refined their ivory tickling underlayers, ultimately recording their progression into what became the masterpiece "Bleed".

The overall sound of their blend of hard edged, thrash kissed metal is what made the band rise from just another of the masses into an undisputed leader and innovator in the 'underground' metal community. Their keys to claiming this level was their effective switching between 'light' and darkness', coupled with their intellectual lyrics. The dark is their thick, heavy sound, no doubt inspired by crunchier 'power' metal bands like the American Iced Earth, but what makes this modern incarnation of Angel Dust unique is their songwriting technique that first debuted on "Border of Reality" and was later perfected on "Bleed". Instead of the one dimension, straightforward approach that most bands use, opting to pound out their tunes as opposed to the ones that fall back on classical tactics to expand their sound, A'Dust uses, with dramatic effect, a delicate tapestry of piano, laced through the swirling darkness. Sometimes its buried deep within the musical layers, and other times its whisked into the spotlight, as all else silences around it. However simple this may sound, in actuality it adds enriching complexity and stirring emotion, to what would have been just purely heavy songs. These keyboards, performed by Steven Banx are the essential ingredient, and give the music a prog-like touch. Thriving on musical subtleties, on their latest they have even used some electronica sounds to spice up their presentation.

The production is even better than on the previous release, the vocals sound cleaner and more upfront, the musical backing to the voice has lost the slight murky feel of "Bleed", which allows the ambient piano to stand out as an even starker contrast, guitars are crisper and even heavier. Everything falls into place smoother than before, and the results of this effort must be heard to be truly appreciated. The vocalist, Dirk Thurisch, has a deep, rich voice, capable of conveying a wide range of emotion, including throat ripping screams and a pleasant mellow midrange, perfect for the more somber moments. His 'normal' sound is very masculine, backed by sheer power, and a slight gritty feel that brings out a forceful, rough edge. Thurisch could easily be described as a more obstreperous Tom Englund (from Evergrey). The guitars, handled by Bernd Aufermann are as you would expect, openly defiant, electric not just in type but also in style, creating a lurid musical barrier. Sometimes the snarling vicious riffs morph from crispness to startling distortion in the blinking of an eye. Drums found here, pounded with conviction by Dirk Assmuth are the perfect compliment to the axework, keeping the backbone solidly precise, along with Frank Banx's bass, are buried just enough so that they never become an irritant, which is absolutely essential for this type of music. Hollow, overly (or under) produced, off rhythm drums can ruin primal power metal quicker than any other overlooked element. On "Enlighten the Darkness", this metal ensemble has managed to surpass even some of the best tunes from "Bleed including the classy "Black Rain" and the impeccable "Liquid Angel".

1. Let Me Live - Starting off on the right foot, with an explosive bang, the song rips and roars while the scorching verses tell the story of one that has been programmed to be a killing machine, drilled so far into the soul that he thrives and lives just to take lives over again. "I washed my hands in the blood of a man I just killed". However, even though in his dreams and reality he is there on the battleground, in the chorus it is revealed in prayer that his desires are simply to have the human inside of him return, and be capable of loving as he did before.
2. The One You Are - You thought the previous song was heavy, its nothing compared to the way this crushing tune opens with sparks of creepy electronic sounds piercing through the darkened layered web. For the reflective periods, the thick force of sound silences, leaving only subdued vocals and piano, delicate and weaving, like the path of a firefly, but the light blinks out as quickly as it was first lit, deserting the calming soft beauty for the ominiously drenched blackness. The chorus is awe inspiring, while the solo lifts upwards, suspended over a pit of war torn pounding.
3. Enjoy - Purely forced metallicness, carried almost without incidence by the lurching drums and driving guitar rhythm riffs and lead breaks. The grit -to- mid range vocals open the song up nicely. While not one of the most technical or emotionally remarkable examples from the album, it does have alot going for it, mainly in the addictive chorus with its soaring "Enjoy!" to top it off.
4. Fly Away - Discordant acoustic laps with remorse, the piano joins in, followed by the vocals, before the entire mess surges up into riffs of oblivion which are carried by the winds of thundering drums. Lightning is the guitar, striking in multiple places, with blazing otherworldly light and amazing accuracy. Brooding but forceful, splitting open the conscious and penetrating within, as much as you want to keep it out of the mind you can't, it intrudes uninvited, yet welcome.
5. Come Into Resistance - A quirky synthesizer creation provides the attention getting 'catch'. Warring with the rest of the gigantic expanse of sound, each instrument and voice seems to be in competition with one another for which can soar the highest, with the most magnitude. It spreads out, flattening into a more traditional assortment of instruments while increasing in trepidation. The haunted, slightly distorted and whispering vocals in one section sends frightened chills up the spine as piercing shrieks of "No!" bring that chilling period to a close. "I feel the pain of all of you, who are condemned to death".
6. Beneath the Silence - A short, strictly acoustic tune, each string plucked dipped in sorrow, but refreshing despite its obvious lack of complexity. Vocals commence, spoken, with a raw breathless edge but when the chorus meanders in, its sung beautifully with simple, unobscured emotion. An appetizer for what is to come next.
7. Still I'm Bleeding - An absolute creamer of ballad, with all the ardor and extravagant, yet essential trappings that have become expected in power metal albums with this kind of intense immensity. Those few that believe its essential to have a 30 piece orchestra on hand to properly convey an epic feel will be quite astonished. While beginning in the same vein as "Bleed"'s ballad-esque song, which was a carressing and depressing, simplistic piano/vocal driven piece, "SiB" takes the next step and ascends into magnificent waves of splendor divine in the dynamic suffering pathos of the thrilling chorus. Near its completion, the song is given a female touch, with soaring vocals and the near-whispered close. A glowing example of how to compose the perfect ballad, with inspiration in its purest incarnation
8. I Need You - This one comes across as Angel Dust's idea of a midtempo tune (well, in comparision to the extremes that dominate the rest of the album), a double edged sword, especially lyric-wise. "I'll lead you my lambkins, my dear children, I kill you - as I will die for you". The fluttery earnest warmth of the verses and the spicy, attractive AOR overtones in the bewitching chorus should have enough influence to entice even the most skeptical critics of heavier metal.
9. First In Line - At war again, awaiting the command to spill out and destroy, its nothing but a starkly presented piece that serves as little more than a mood setting opener for the next song.
10. Cross of Hatred - One of the stunning highlights, and centerpiece of the album, a thundering excursion into the depths of hatred, with smugishly violent overtones and positively delicious rage swollen sections that ignite both chorus and bridge alike. The entire song is just built to explode during its grand finale, in ear piercing screams, just a hair off from shattering glass. Although this may sound like simply loud, thrashy racket, in actuality its a well structured tune that feeds off of its own anger tipped with resentment toward the graphic tragedy of war, and spikes with anger like an agitated wolf, before riling up so much that it bounds in for the final blow of death. All of this is roped up, driven, yet contained into delightful surging melodies surrounded by waves of building, epic sound.
11. Oceans of Tomorrow - The devestating closure as the curtains are about to fall, the icy cold bleakness of realization sets in, but too proud and battered to admit to failure of judgement, these sentiments are embraced by the tingling synth and softly wistful vocals. "Too vain, to confess my own lie." In transition from the reflective opening, washing in are zealous moments of piano before ripping into a Savatage-ish styled grandness and faded finale.
12. Same Eyes (online only bonus track) - Pulsating, online only bonus track, that has much in common with the beginning fury of the handful of tunes at the first of the album. "Tell me now, who am I to you?" The crunchy, slick chorus and brittle electric licks make it a worthwhile song indeed, but seemingly out of place if tacked onto the end of the disc.

The future of the band's direction, as foreseen when "Bleed" debuted, has all come to pass. "Enlighten the Darkness" is every bit the masterpiece that Angel Dust was capable of then, but with the extra helping of experience, they have come much further in such a short period of time than was previously expected. As a concept it works with great ease, enlightening the tale of both love and war, plus the selling of one's soul for a cause to believe in, only to see it as a false illusion after being shaped into a tool for mass slaughter who's deeds are beyond redemption and once its over, has been thrown away like a broken spirit to the wind. Musically, Angel Dust proves to us that inside every opague abyss of devouring darkness, there is a shimmering beam of light within, even if sometimes you just have to search to find it. Without a shadow of a doubt, "Enlighten the Darkness" is a veritable masterwork with scrupulous details to sound and a delighted emphasis on eclipsed darkness and abruptly radiant illumination that is destined to impress. Already a certain contender for one of the best albums to come out of the year 2000.

Rating - 9.7
by Alanna Evans
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