Growl, Melancholic, Opera-Rock
""The Liberation" puts progressive death metal back in fashion and makes Disillusion a band to follow carefully."
STRUCK (30.12.2019)  
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I'm talking about a time that those under 15 can't know! A bygone time when progressive death metal was fashionable. Opeth had just come out of his mythical diptych "Deliverance" / "Damnation" and was about to embark on the excellent "Ghost Reveries". The forerunners of Edge of Sanity were about to follow up on the legendary "Crimson", Orphaned Land released his revolutionary "Mabool", Enslaved's black metal took a more progressive turn with "Isa" and Subterranean Masquerade came out with its "Suspended Animation Dreams" a year later.

At the heart of this effervescence, a German trio was also going to leave its mark on the extreme progressive landscape with the fabulous "Back To Times of Splendor". Strengthened by this recognition, the Germans were back on the scene two years later with "Gloria" which did not meet success because of an experimental turn too radical. From then on, it will be necessary to wait 10 years so that the group finally gives again sign of life with a single 'Alea' with the resolutely progressive accents. And so it is the year of the 15 years of the album that made them known in the world of the progressive metal microcosm that Disillusion comes back with their third album "The Liberation".

Let's reassure the fans of the first hour, "The Liberation" is more in line with the unavoidable "Back To Times of Splendor" than the audacious "Gloria". And the instrumental introduction 'In Waking Hours', which delicately opens the way, prepares us for the total immersion that follows with 'Wintertide', which will undoubtedly be a new cornerstone in the German career. With its more than 12 minutes, this title is the first highlight of this new offering of Disillusion. For we can indeed speak of a gift: with this first pavement, Andy "Vurtox" Smith concocts a new progressive death metal pearl between a captivating crescendo, a bewitching break and an apocalyptic finale. In a similar state of mind, 'The Liberation' is in line with what the band had done on 'Back to Times of Splendor' with its melodic rise in power to better pick up the listener in a progressive lull and finally start again with a beautiful finale in the form of an apotheosis.

'The Mountain' - and its 12 minutes (again) - pushes the developments evoked elsewhere to the limit. This title is announced like a melancholic and icy Doom tale, through the prism of the narrative singing of the vocal chameleon Andy Smith, supported by a particularly poignant trumpet on its first part, and then follows on to a classy progressive metal that closes the whole in the most beautiful way.

To say that Andy Smith and his band like to develop their ambiences is an understatement, but this process has its limits, as on the interlude 'A Shimmer in the Darkest Sea' and its shamanic accents which - although composed of a chorus that easily stays in the head - extends in length and would have deserved to be shortened. But Disillusion also knows how to be effective while remaining concise, as evidenced by the small melodic nuggets and the typically progressive break like 'The Great Unknow' or the magnificent and bewitching 'Time to Let Go'. 

To be able to achieve such a tour de force, each member must show a real mastery of his instrument and once again, without surprise, the prize goes to the project's creator who, in addition to being an incredible composer-guitarist, is a formidable singer, whether in the extreme, clear or narrative register and sometimes close to a Serj Tankian.

If the exercise was risky, so high were the expectations, Disillusion responds in the most beautiful way by proposing "The Liberation" which is a worthy and probably the best possible successor to "Back To Times of Splendor".

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01. In Waking Hours
02. Wintertide
03. The Great Unknown
04. A Shimmer In The Darkest Sea
05. The Liberation
06. Time To Let Go
07. The Mountain

Andy Schmidt: Chant / Guitares
Ben Haugg: Guitares
Martin Schulz: Batterie
Sebastian Hupfer: Guitares
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(1) COMMENT(S)    
Vraiment un superbe album. Tous les amateurs de death prog et/ou les nostalgiques d'Opeth 1ère période doivent y jeter une oreille d'urgence !
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