[Album Review]: Shturm’s “Kalahia” (Full Length, 2009)

Posted: April 2, 2011 in Album Reviews
Tags: , , , , ,

Well, to start off this review, let me say that here is a lot of Nile worship going on, and it got me wondering for an instance – what the fuck are those middle-eastern folk tunes doing in the album, which is lyrically devoted to Tibetan/Buddhism concepts? I was rather wishing for some exotic Buddhist mantras and chants. May it be through their unawareness? Probably not, gazing at the song titles they’ve crafted, showcasing some immense knowledge of theirs on the Buddhism thing on whole. So, I conclude those tunes might have been there because of their very tendency towards sounding more like Nile. Perhaps.


The album tends to follow Nile in most facets of songwriting, followed by a light of Behemoth worship as well. Think of these two bands being mingled, and the whole definition of Shturm’s music is done ninety percent. But hold on – the compositions are awesome and the songwriting is done brilliantly, but which could still be derived as homage to the aforementioned two bands, and this could be one of the best clone releases out there (and trying to clone Nile in itself sounds thrilling). There is a real fierce velocity accompanying the instruments, and they never really tend to slow down. This could be a good thing, but again, the same speed and viciousness could be monotonous at times, as there are little to no change in riffing till quite a long extent in most of the songs. I mean, take any track from here, for no noble cause, from the beginning to the end, the extremity may probably lie the same, and it’s hard to focus at the variations sealed within. But again, you could be greeted with these cool folk melodies with some rare instruments on, and that would be the moments to reinstate. These ambient and acoustic passages that lay inside the brutal fast paced annihilation have given the musicians a chance to throw few original twists to the overall work, and it’s done with intelligence.

The production is thick. Think of Behemoth’s blackened death era albums for the production facet, and which seems to go cool with the compositions here as well. The vocals aren’t as low as Karl Sanders or George Kollias’, but they somewhat sound like the mishmash of those from Nergal and David Vincent.

Hence, although this one is more of some worshipping act, this still could be called a commendable effort, considering the splendid songwriting. As said above, fast paced semi-technical brutal death metal caressing Nile and Behemoth touches would do sum it up.


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