Art and metal have become very synonymous, limited to the palette of symbolism and/or lyrical expanse—for art that was was realized with no intention to end up as an album cover. The Vanitas and Black Metal, as far as the Mad Mane Machine is aware of, heeds back to Anaal Nathrakh—whose version was a minimalist achromatic all-inclusive approach, considering Audrey Flack‘s Vanitas.
Daemonicium‘s Through Time and Death is a cross between a Vanitas and The Three Ages of Woman and Death. The album’s woman has fallen into a youthful stasis however, a reflection of Time’s eternity—if it’s immeasurable. The lyrics array an Old One who is constantly implored for penance.
Displayed are riffs with proficiency, although more could have been achieved. Completely the symphonic eminence overshadows some of the instruments. Only minute bass breaks are syncopated, and even these are more of the exception—without much to write home about save for filler driller. It mostly comes out a snare and keyboard consecration when leads fortify their presence.
The growls let-down at times on this record when paired against the spoken lyrics and shrieks. Without the keys, Through Time and Death would easily fall into the sphere of melodic Black Metal managing solos. It would not even gratify the void it is trying to fill. Falling and collapsing under its weight.
Rusty may be a compliment to a metal band. Daemonicium may reciprocate the rusty, auburn crimsons of their cover inspirations but that is as far as it goes. The music pales a few hues in comparison. The woman’s stature gives way to a slight male elucidation and that skewers the lyrical content for the Mad Mane Machine in accordance to the Vanitas. Proficiency and purpose is key.