Vulture Industries
The Tower
(Season Of Mist)

Well, it took them a while, but these guys finally managed to pull off a terrific (and unique) avant-garde metal album. As obvious, the influences from Arcturus and Ved Buens Ende are here, possibly even Winds and far more bizarre material, but it’s all bundled rather nicely in a staggering compilation of styles and sounds that still reverberate as Vulture Industries. “The Tower” is filled with great melodies and operatic vocal utterances, as well as slight progressive twinklings that help to make it an interesting and stereoscopic piece. Such ideas continue to ebb and flow through “Divine – Appalling,” which makes me think that Arcturus’s La Masquerade Infernale was being played quite a bit during the time this album was being composed. “The Hound” introduces a bit of blues to the mix, but still manages to keep things quite melodic and classy. “Blood On The Trail” brings a barrage of oncoming heavy riffs, which manage to showcase a great clean vocal chorus, among so many other oddities. Vulture Industries is not without their weirdest and this is their most refined, yet strange album yet.

Next we have “The Dead Won’t Mind,” which is definitely a personal favorite, possibly because it’s so sick, depraved and catchy. It’s definitely not a song like you’ve ever heard, and won’t be one that you’ll forget either. The catchy blues and psychotic nature of this one is enough to convince that you might be going insane. “A Knife Between Us” goes back to the theatrics – this album certainly has an odd story wrapped around it, so if you’re interested in that you should certainly follow along with the lyrics. “The Pulse Of Bliss” introduces elements of newer prog metal, but manages to see the act in a new light. Again, Vulture Industries are not your run of the mill band. When I’m comparing these guys to an act of such majesty like Arcturus, you know that it’s got to be well worth checking out. “Sleepwalkers” is a bit darker in tone, as it plays with a piano and some “shaky” djent, which you’ll have to hear to believe. There is also a stellar guitar solo here, and you’ll find a few of them scattered about the album. “Lost Among Liars” is a bit of a ballad, finally ending the album with “Blood Don’t Eliogabalus,” which is just the sort of multi-faceted operatic fare that you might expect an album of this type to end with. Many acts have tried to mix the theatrics of opera with the extremities of metal, but Vulture Industries have put nearly all of them to shame with this magnum opus. (Eric May)

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