Imperial Triumphant – Inceste

Rating: 2/5
Released: 2018
Label/Distributor: Temple of Torturous
Label/Distributor URL: http://templeoftorturous.com/
Buy Album: https://imperialtriumphant.bandcamp.com/
Band Website: https://www.facebook.com/imperialtriumphant/

Album Tracklisting
  1. Libertine
  2. Kaleidoscopic Orgies
  3. Oblivion in Morsels
  4. Breath of Innocence
  5. Krokodil (Chorus)
  6. Nefertiti (Miles Davis Bass Cover)
  7. Breath of Innocence (Chorus)
  8. La Douleur Exquise (The Exquisite Pain)
Band Line Up

Ilya – Vocals/Guitars/Orchestration
Growhowski: Drums
Blanco: Bass/Keyboards
Cohen: Drums
Malave: Bass/Backing Vocals
Ulrich Krieger: Saxophone
Sarai Chrzanowski: Soprano Voice
Julie Castro: Alto Voice
Aaron Kruziki: Tenor Voice
Stressor: Backing Vocals
Ilbastos: Backing Vocals
Max Gorelick: Backing Vocals

 

Review
DOES NOT COMPUTE!!! Very rarely does a release reduce me to a gibbering wreck, but this one did. The band took the unusual approach of imagining the record in terms of it being on vinyl, with the A-side being distinctly different to the B-side. Apparently Imperial Triumphant took lyrical inspiration from the exploits of the Marquis de Sade, and musically they describe themselves as “avant-garde”, which I believe translates as “whatever the fuck they want to do”!

Proceedings are kicked off with “Libertine”, an off-key bête noire which serves as the standard spooky intro. It leads into the truly odd “Kaleidoscopic Orgies” which is no less than the soundtrack to an acid-fuelled nightmare; a mindbending experience full of discordance, peculiar song structures and disparate musical motifs (slide guitar vs blastbeats) and lackadaisical growled vocals. “Oblivion in Morsels” starts off in a more overtly metal vein, with jangly fuzzed up guitars. Again they attempt to perturb with the vocals; growls and snarls fighting for supremacy with classical style choirs. It is all too divergent to be memorable. The A-side is concluded with “Breath of Innocence”. Its choral intro is rather pleasant but soon makes way for yet more chaotic noodling, which is completely indistinguishable from the previous tracks.

The B-side begins with “Krokodil (Chorus)”, and as the title suggests is a cavalcade of ghostly voices, and is a welcome respite from the opaque meanderings of the A-side. Next up is “Nefertiti”, a bass cover of a Miles Davis tune, which is creepy and quite endearing. A choral redux of “Breath of Innocence” whizzes by without making an impression, before the band surpass themselves in terms of being willfully weird. “La Douleur Exquise (The Exquisite Pain)” is a confusing collision of Swing style juxtaposed with crying babies and anguished screams, and made me wonder what on earth the band were smoking.

Many bands have attempted to fuse seemingly incompatible styles, and have made it work. Imperial Triumphant do not. In fact, their approach seems to be cram as many ideas in as possible (whether they work or not) and be obtuse and bizarre for the sake of it. This comes off as arrogance. This was a very confusing experience indeed. Rarely have I heard such an oddball, freakish record. Perhaps my tiny mind is ill equipped to deal with such high-minded concepts.

Review by Owen Thompson
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