Inceste EP

by Imperial Triumphant

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Niccolo Brown
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Niccolo Brown Back in the days when black metal was basically a loose coterie of misanthropic dipsticks from Oslo whose mission was to spread fear and loathing worldwide via the appallingly produced records of corpse paint wearing bands whose members had a habit of killing either themselves, their bandmates or gay people, its future looked bleak. A true black metaller was expected to be a theistic Satanist, hate everyone (particularly if they came from Finland), burn down churches and adorn the stages of their gigs with such delightful props as sheep's heads impaled on stakes and baths filled with pigs blood. Anyone who failed to comply with these rules was cast into the outer lightness and this combined with the odd suicide, bandmate-on-bandmate murder and imprisonments for arson reduced the numbers of the fabled 'black metal inner circle' to about three who preferred to ramble on about 'nationalist neo-paganism' (in other words they were extreme right wing gherkin-brains who believed there really were demons at the bottom of their gardens) than make music (for which we are truly thankful). Seeing little future in such a rigidly constrictive style, some bands on the periphery of the scene simply switched to playing plain old thrash or death metal but a few enterprising souls removed the ethics of black metal and began experimenting with its actual sound with often startling results. Soon we were hearing previously unimaginable new (and to the diehard purists, blasphemous) hybrids such as the equally venerated as reviled "blackgaze" which combined the throat-shredding vocals and blast beats of trad black metal with the melodic but abstracted guitar tones of My Bloody Valentine and Swervedriver. Deafheaven's sophomore album "Sunbather" was one of the most lauded of 2014 from any genre and last year Bosse-de-Nage released the awesome "All Fours", as star-spangled as it was utterly brutal. Most bizarre of all has to be San Francisco's Mamaleek whose "Via Dolorosa" album released by the anything goes, experimental metal label The Flenser is an indescribably weird concoction of avant-garde jazz, elevator muzak and something that's certainly black and metallic but so distant from, say, Darkthrone's "A Blaze In The Northern Sky", I'd be lying if I said I thought they shared the same genre. I know, I'm supposed to be talking about Imperial Triumphant's "Inceste" EP but I just wanted to illustrate the point that if new potentials for existing genres aren't at least explored, a slow, painful and often irreversible withering on the vine detracts from the vitality and importance of the classics that first brought it to prominence. Anyway, "Inceste" is a truly nightmarish creepfest that throws Edith Piaf samples into a cauldron of black metal horror that also seems to bubble with fragments of sound culled from experimentalists old and new outside the world of metal. Imperial Triumphant are demonstrative of what boldness of imagination can bring to a long in the tooth strain of music and just how genuinely disturbing a collection of sounds assembled by people determined to find an entertainment factor in fear can be. I've heard some stupendous metal this year and this is 25 heart-stopping minutes of it. Favorite track: Kaleidoscopic Orgies.
Justin Urlaub
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Justin Urlaub Imperial Triumphant does not dissapoint with Inceste. Amazingly creepy and a breath of fresh air for black metal. Favorite track: Oblivion in Morsels.
El_Cuervo
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El_Cuervo Wonderfully weird. Black metal which focuses less on the metal and more on the black - this is dark, disturbing stuff but instantly memorable too. A fascinating snippet to follow up the worthy Abyssal Gods.
Name's Dalton
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Name's Dalton Some serious Chicago-style no wave going on in parts here "Kaleidoscopic Orgies" sounds like something frightening and disturbing spat out by the Atavistic or Skin Graft labels. Love it. Favorite track: Kaleidoscopic Orgies.
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about

The epitome of a paradox, IMPERIAL TRIUMPHANT combines an obsession with musical progression with a philosophical fixation on destruction, decay, and the crumbling of the spiritual, mental, and physical fabric that binds humanity. Dissecting the lifeless corpse of post-industrial New York City and using a canvas of black metal, jazz fusion, death metal, doom, and various other soundscapes to paint a bleak portrait of a post-modern world left to rot, IMPERIAL TRIUMPHANT serves not as a voice in and of itself, but as many legions of tortured, aching screeches possessing a single entity with no goal in mind other than the mutilation of the benevolent host. Disregarding conventional references in extremity and replacing them with the mechanisms for cultivating a truly unnerving and abysmal atmosphere, this is not so much a metal album as it is an exercise in the deconstruction of the psyche. There is no preparing yourself. There is no hope. There is no beginning. There is only the eternal ending.

New York City experimental black metal tacticians IMPERIAL TRIUMPHANT are back with a brand-new 4-song EP entitled Inceste. This release, like the band's previous full-length Abyssal Gods, was mixed and mastered by Colin Marston (Gorguts, Krallice, Nader Sadek, Atheist, Origin etc.) at Menegroth, The Thousand Caves, and sees the band diving into darker and more deranged territory than ever before.

In regards to Inceste, the band states, "Inceste is an interpretation of the works of French aristocrat Marquis de Sade. We wanted to make a record that was sordid, invasive, and child like at times. Extreme highs and lows are everywhere on this EP. The music always reflects the lyrics. Nothing on Inceste is stable. Everything instrument bends and twists and wrenches, forcing its way inside of you."

The stunningly disturbing album cover compliments the musical perversion within and was expertly crafted with the help of NY artist/photographer Alex Krauss. A quote from a recent No Clean Singing review perfectly descibes IMPERIAL TRIUMPHANT's descent further into depravity with this release: “[Imperial Triumphant is]... a sickening scintillation of the surreal and the sadistic that together conjure an evocative glimpse into hell."


Press Quotes:
"Imperial Triumphant’s “Abyssal Gods” is about New York City, and it accurately conveys the dichotomous senses of magnificence and derision, wealth and poverty, power and weakness, ecstasy and misery, that pervade the metropolis... In spirit and in sound, Imperial Triumphant is the black metal of the future." - Dave Mustein’s #1 album of 2015, MetalSucks

"A mad, confusing cacophony of bizarre riffs, weird time changes, and wonderfully prominent yet strange bass lines, all the while enhanced by a certain air of authenticity." - About.com

"Imperial Triumphant truly operates within the upper echelons of American Black Metal. 10/10" - The Metal Observer

"Imperial Triumphant are one of the most important U.S. black metal acts currently active." - No Clean Singing

Official Links:
facebook.com/imperialtriumphant
imperialtriumphant.bandcamp.com
instagram.com/imperialtriumphant

credits

released April 15, 2016

Personnel:
Ilya - Vocals, Guitars, Orchestration
Growhowski - Drums
Blanco - Bass, Keyboards
Cohen - Drums
Malave - Bass, Additional Vocals
Ulrich Krieger - Saxophone
Yoshiko Ohara - Choir/Screams
Sarai Chrzanowski - Soprano Voice
Julie Castro - Alto Voice
Aaron Kruziki - Tenor Voice Stressor - Additional Vocals
Ilbastos - Additional Vocals
Max Gorelick - Additional Vocals

Recorded at Amy Mills Studios and Solitude Studios
Mixed and Mastered by Colin Marston at Menegroth, The Thousand Caves

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Redefining Darkness Records Cleveland, Ohio

There was a time when heavy, unfiltered, and dangerous music was harvested and supported by those unafraid to venture to those parts of the mind and soul unknown to the masses; the very left hand path of the psyche that when tapped flows through ones veins for eternity

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