The Grotesquery’s
Tales of the Coffin Born is an effective old-school death metal album from Kam Lee (Bone Gnawer and Massacre) and Rogga Johansson (Bone Gnawer, Demiurg, Paganizer, and Ribrspreader) that emphasizes medium and slow tempo death metal to compliment the story that the album narrates. As an epistolary discourse,
Tales of the Coffin Born is a concept album that takes its inspiration from the literary universes of Lovecraft (the most obvious influence), Stoker, Shelley, and Poe, about filicide “in order to appease the dark, lurking thing in the shadows,” but in keeping with the album’s primary sources, cause-and-effect actions and events explode beyond the narrator’s control and result in madness and, eventually, apocalypse. So while Lee writes on the band’s myspace page that “I think we’ve done something here with this album that has never been done before in the death metal scene,” the theme of the narrative (I reckon that he might have forgotten Deceased's concept albums), as well as the band’s old-school interpretation of death metal, is hardly innovative, but it is a refreshing change of death-metal pace in difference to the majority of bands and albums the scene is producing. If you’re a fan of traditional death metal and horror narratives, this album will nicely satisfy you for a good, long spell.
The Grotesquery’s Tales of the Coffin Born is an effective old-school death metal album from Kam Lee (Bone Gnawer and Massacre) and Rogga Johansson (Bone Gnawer, Demiurg, Paganizer, and Ribrspreader) that emphasizes medium and slow tempo death metal to compliment the story that the album narrates. As an epistolary discourse, Tales of the Coffin Born is a concept album that takes its inspiration from the literary universes of Lovecraft (the most obvious influence), Stoker, Shelley, and Poe, about filicide “in order to appease the dark, lurking thing in the shadows,” but in keeping with the album’s primary sources, cause-and-effect actions and events explode beyond the narrator’s control and result in madness and, eventually, apocalypse. So while Lee writes on the band’s myspace page that “I think we’ve done something here with this album that has never been done before in the death metal scene,” the theme of the narrative (I reckon that he might have forgotten Deceased's concept albums), as well as the band’s old-school interpretation of death metal, is hardly innovative, but it is a refreshing change of death-metal pace in difference to the majority of bands and albums the scene is producing. If you’re a fan of traditional death metal and horror narratives, this album will nicely satisfy you for a good, long spell.