In its turn, the double bass drumming is difficult to evaluate – the double bass attack is lost in the whole sound, it’s heard really poorly. And the breaks are equal in volume with the snare beat. The snare beat with its booming sound sits on the ice throne in the center of the whole sound – it is it which controls the sonic offensive.
Often in the literal sense: on Chained to Ossuaries, according to the old-school tradition, guitars in the left and right channels periodically play different parts. The snare drum dominates the sound: it’s as if it throws the guitars by a body check in different directions. The first thing you pay attention to is a very strong drum beat, even on a blast beat. The sound of the album deserves a separate discussion. In addition, rather sophisticated bridges and licks began to appear in the body of the songs, that add an element of ominous unpredictability to the album. Needless to say, in comparison with the previous album, the structure of the songs has become more complicated. This technique is used in almost every song, and seventh “Crown of Death” is completely built on speed variation. The roll-call of slow tempo and acceleration is repeated several times in “Chained to Ossuaries” – definitely, this becomes Pyre’s new “schtick”. In addition to several blurry episodes on the album, almost copied Asphyx can be heard at the beginning of the ninth “Antae to the Nothingness” and the ending of the tenth “Death’s Dawn Call”. The chords u sed in this song – extensive drop-tuned with long release times, – are definitely inspired by Asphyx. In the sixth song “Chained to Ossuaries” they descended to an even slower tempo, and it becomes clear that now in addition to Unleashed, Asphyx is another old school guide for Pyre. Anyway, it’s a good change: the overturned fetish of the fast tempo cleared a space for sullenness and coldness in their music – Pyre became more icy and evil. Nevertheless, not from beginning to end: Pyre seem to be unable to play for a long time at a slow tempo, and they are sure to rush into a blast beat attack – at least for the sake of a short fragment. For example, the fourth and fifth songs “Across the Shores of Emerald Fractals” and “Ornaments of Bones” are sustained in an unusual for them mid-tempo.
Yes, rage and onslaught are still the main components of their music, but they began to pay more attention to mid-tempo and even slow passages.
Obviously enough, Pyre lost momentum in their attacks. As before, there are completely no any fashionable trends here, say nothing of experiments. As before, this is one-hundred percent old-school death metal, mainly in the classic Swedish riff-based tradition of the early 90s (Unleashed first of all). The six years that have passed since Pyre released their debut album, have not changed much in their music.
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