Inspired by their home of New York City, the avant-garde Imperial Triumphant deliver a theatrical blend of metal and jazz, now also expanding further into world music incorporating North African Gnawa music and Brazilian Maracatu. Despite the gilded masks, all that glitters is not gold as Imperial Triumphant unveil beauty and horror in their exploration of their city’s streets, renowned landmarks, and the allure of the silver screen.
Goldstar is a curious dichotomy of grandeur and chaos; it’s light and dark entwined in a thrilling sonic experience that is often discordant and uncertain. Eye Of Mars begins eerily with haunting piano notes and spoken narrative snippets before suddenly shifting into dramatic heavy instrumentation. Demonic vocals accompany the epic and classical leaning discordant rhythmic stabs. The high intensity of the music soon fades away into a droning and enveloping atmospheric realm. It pulls you further in—into the depths of deafening turmoil. The grandiose nature of Imperial Triumphant’s sound is revealed through immense instrumental layers, textures and tones.
Greeted by rhythmic percussion, Gomorrah Nouveaux draws primarily from extreme metal. Filled with riffs, bass drum double-kicks, and ferocious vocals, the song’s arrangement cements it in the avant-garde. Joined by Meshuggah’s drummer, Tomas Haake, Lexington Delirium carries a moody backdrop that is filled with familiar soundscapes of the Big Apple. In a dreamlike state, car horns and sirens fade into the background as a melancholy darkness approaches. Jazz basslines, non-standard time signatures and shrill guitars make for a fierce sound in homage to the Chrysler Building. “Lights, camera, action”—the enticing, and surprisingly catchy, Hotel Sphinx explores the world of film, notably Stanley Kubrick.
Goldstar varies from Imperial Triumphant’s previous releases in respect to the band’s stylistic decision to shorten the average length of their tracks on this album. These self-inflicted creative restrictions have led to the formation of an intriguing track list that delves into more concentrated offerings. Yet, the sonic power of their music is not sacrificed, the immersive qualities remain. Taking this to the extreme, the improvised NEWYORKCITY featuring Yoshiko Ohara provides a highly experimental take on grindcore lasting less than a minute. While Goldstar draws on the barbershop style, despite the upbeat rhythm, something sinister appears to lurk beneath.
A cacophonous assault is found in Rot Moderne. The sheer power of the instrumentation in this track feels unending. It’s wave after wave of unchecked abrasive, heavy fury. Returning to the soundscape of the bustling city streets, Pleasuredome, featuring Dave Lombardo and Tomas Haake, approaches with a disquiet steadiness. Beyond the sounds of traffic, tolling bells ring out while distant heaviness marches ever closer. Amidst the gloom, the heaviness fades away to focus on the Brazilian Maracatu. The textural percussion elevates the arrangement, emphasising the precedence of rhythm in this track. Industry Of Misery draws Goldstar to a close. Prominent bass, shimmering guitar, and creeping piano notes emerge from the shadows, before giving way to an onslaught of thunderous rhythmic strikes.
To say that Imperial Triumphant are distinctive is somewhat of an understatement—their arguably unhinged approach is not going to appeal to everyone. But that’s the point. Goldstar pushes not only musical boundaries in terms of fusing genres, but it also challenges the ‘listenability’ of music; when does music become ‘noise’? Goldstar is fascinating as it simultaneously continues to exert untamed creative freedom while also feeling more ‘accessible’. In this new album, Imperial Triumphant have devised and expertly executed a thrilling collection of compositions.
For fans of: Zeal & Ardor, Thy Catafalque, Kilter
‘Goldstar’ by Imperial Triumphant is released on 21st March on Century Media Records.
Words by Holly Royle
