SYMPHONY OF SYMBOLS "Historiocriticism"
/Metal Scrap Records/

Tracklist:

1. Flood 01:14
2. Dispersion 09:26
3. Gates 02:12
4. Pyramid Cities 07:52
5. Rings 01:08
6. Verity in the Legends 09:05
7. Giant Signs 01:14
8. Beyond Earth 09:15
9. In the Serve of Evil 01:39
10. The First Natoin, the Last Survivor 10:18
11. Everything Reveals 06:40

 
                                             

 

 

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Symphony of Symbols is a Hungarian six-piece, one that could celebrate its twentieth anniversary last year, having seemingly spent the majority of their early years honing their craft and perfecting their own sound – Which, incidentally, would seem to be the first instance that I have ever come across of a Black and Death Metal blend.
Despite their impressively low discography (as of this year counting one Demo and two Full-length releases), they have nonetheless managed to demonstrate through Historiocriticism that they certainly know their way around their instruments, as well as have a clear concept and goal as their driving force, musically speaking. Indeed, their newest record is an impressively one hour long of unrelenting, powerful blast beats coupled with distorted guitars and short, catchy rhythms – A prime example of ‘the best of both worlds come together’ when thinking about the two genres that the band successfully managed to fuse together.
This, brought together with the statements I claimed above, gives the impression that Symphony of Symbols is a live act that prefers quality over quantity; Releasing only a small amount of material which they can instead be proud of. And given the fact that they spent almost a decade as a band before releasing their first Demo, one can (and in my case, will) assume that they spent the time as a live act – Something that would attribute to how well they handle their instruments and seemingly play together.
The one draw-back for me, however, is the fact that these days, many bands have a very similar sound to Symphony of Symbols – Maybe not as clearcut, but with a similar baseline concept and sound somewhat reminiscent of the one found on Historiocriticism. True, this does mean that it should (and most likely will) appeal to a larger fan-base, it also means that it, for me, lacks anything making it truly memorable and unique.
That being said, if I ever get a chance to see these six Hungarians live I will jump at the chance – The highly energetic performance on tracks such as “Beyond Earth” is very contagious, and screams for a live performance.

Brian (metal-revolution.com)

The latest release brings one hour of aggressive, technical, twisted, ambitious metal. Stylistically, I would classify the band’s work as progressive death metal, but in some fragments as technical black metal. In addition the three short pieces titled “Gates”, “Giant Signs” and “In the Serve of Evil” are based on atmospheric electronics, using tribal rhythms. However, the last song “Everything Reveals”, finishing album is not brutal, but is moody, in which the keys and the guitar are alternately put in the foreground. The rest of the tracks, usually multi-minute, is a sound attack that uses high technical skills of the musicians. The guitarist creates complicated virtuosery. The drummer is very good, it is accompanied by the fast electronic drums. The bass player has many interesting moments. The vocal is very varied from low growl across whispered spoken, hoarsed, black scream to voice spoken like from a radio. The music is enriched by frugal keys. All instruments play simultaneously in their own way, but these all musical activity create coherent whole.
The transfer is aggressive, but sometimes this aggression is still growing. Teh oroduction does not lose the value of individual elements, everything can be heard. In addition, “Historiocriticism” was recorded in full analogue, which emphatically confirms the professionalism of SYMPHONY OF SYMBOLS members.
The Magyars’ work is undoubtedly very valuable, but for me it is difficult for my mental perception. However certainly many metal lovers will appreciate it.

9/10
Livius Pilavi (metalcentre.com)

Slowly We Rot 12 2018 coverSix years after their debut album was released, Symphony of Symbols are back with a followup studio effort this time focused more on Death Metal and loosing whatever Black / Black Death influences they still had. The compositions, 5 tracks divided into 11 chapters, are way more intricate, faster played and benefit from a better, more powerful production that their debut had. The tracks structures are as complex and complicated as possible, they actually feel rather chaotic, a programmed chaos if you will, but tough, very tough for the listener to digest, so this will narrow down their audience even more. We don't get melodic parts here, now melancholy or acoustic intermezzos, just plain (I'll skip the "and simple" in this case) brutality and fanatic assault on senses. It is indeed an impressive effort, you'll keep wondering if they can keep this up on live shows, but strictly from a "playing it at home" point of view, this CD is rather repugnant, only the initiated will have the guts to take it to the end. The lyrics are about all sort of stories and myths, nationalism not missing either, but I won't go into that, you'll have to make your own mind.

7/10
Slowly We Rot #12/2018

Rockcor 62018Полная демония! Поздравляю вас с вторжением запрограммированных на дикую злобу ужасающих роботов из бездн адовых! Венгры явно дают всем по башне! Это уничтожающий всё и вся запредельный Brutal Death, дамы и господа, то бишь музыка не для слабонервных! У парней явно не все дома, но это больше, наверное, идет на пользу, нежели наоборот. Я не зря упомянул тут адских роботов, так как звучит все не полюдски, ощущение, что играют машины, а не люди, нет чего то живого, это мертвая музыка, ну чего вы хотели, «смерть» же! Молотилово сплошное, однако, временами не лишенное шизовости и психических каких–то ответвлений в некоторых проходах, вставках, бриджах и прочих структурных моментах. Много есть интересного и даже нового, я бы сказал, что не меняет общей безрассудной канвы. Композиции часто состоят из нескольких риффов без повторения, что сейчас становится даже модным, но в целом все это звучит как одна песня. Я представляю, как все это звучит после уничтожения всего живого тиранозаврам понравится, появись они снова на нашей грешной и многострадальной земле. Это, видимо, для самых эстетствующих и безбашенных дэтовых гурманов, которые, несомненно, среди вас найдутся! Я не поленился и глянул еще вдобавок и видеотрейлер к альбому на Ютюбе, так вот, лишь посмотрев его, я, можно сказать, проникся всей идеей, С видеорядом дело обстоит более внушительно. Оказывается, это целый чертов концептуальный альбом! Он показывает скрытые археологические находки, древние рисунки и тексты, ссылки между ними и демонстрирует, почему турист фальсифи цирует историю и почему важно поддерживать все это бессознательное состояние. В общем, рискните здоровьем и попробуйте врубить «это».

4/5
Константин Данзигов (Rockcor #6/2018)

Hungarian band Symphony Of Symbols was founded in 1997. Yet this is only their second record, after ‘Stupefying Beliefs’ from 2012. And when I take a glance at the number of changes in the line-up I think I know where to find the most important explanation for that. As an example, the current singer is in the band only since last year. And the number of ex guitar players is comparable to that of the singers.
It seems the band insists on biting off a bit more than they can chew. There is absolutely no denying that they have the capacity aboard to manifest very, very interesting stuff. But there is more to it than that. Structure and most of all musical identity and direction are lacking a bit. That makes the technical passage come across as a desperate attempt to showcase themselves. That is not so much criticism, but more like a warning, as this is a shame of the talent they possess. If someone would take them by the hand and told them where to be just a little bit more conforming to expectations at the moments it matters, if they would want that, they would easily climb up a few steps on the ladder. The genre they venture into, progressive blackened death metal, is exploding with talented bands with the best of intentions. But only so many can make a lasting impression. On an individual level they all have what it takes to be part of that, really. Now all it takes is getting the collective there. And in all honesty, that must be done before the third record, because you can get to be a promising band only for so long. Fingers crossed, I hope I one day get to hear the full potential of this band.

66 / 100
Ramon (http://www.lordsofmetal.nl)

That this Hungary-based death/black metal band is extreme, technical and its drummer likes to mince his kits and the listeners’ eardrums like that country’s Prime Minister Viktor Mihály Orbán minces the truth and reality is indisputable. Having said that, the group and its second album, which is a concept about civilizations, suffer from a bad sound and the general inability of the band’s style not holding a beat for more than a few seconds. That latter statement could be taken absolutely positively for many however. The purpose of metal is not to be easily digestible or commercial. The potential buyer should be aware of the fact nevertheless.
The band is clearly inspired by Morbid Angel’s technical work. Unfortunately, the sound though harkens back to Abominations Of Desolation. The style is intense, the drummer as mentioned grinds the enemy and one also, and unfortunately, hears the occasional whispered vocals and synthesizers a la Morbid Angel on a song like Giant Signs. Not sure if a track like In The Serve Of Evil is intentionally so entitled or signals an opportunity for the band to improve its English but it is one of several instances where the group injects interludes into its chaos. The album is an hour long though so the presence of these minute-long intermissions does not take away from the disc’s value. With that said, one could do without them. The First Nation, The Last Survivor hints at Atheist, Beyond Earth is a superb cut full of speed and Verity In The Legends seems like a boring waste of space before one of the band’s many time changes appears, things look up and even a scarce solo impresses.
SOS loves its nuclear drums and its reverb. It also loves Morbid Angel. It hates commercialism or mainstream appeal. For my money the band needs to up its songwriting ante and clearly ascend above the muddy plain in which its sound resides.

60/100
Ali (Metallian)

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