Demonic Resurrection‘s fifth full length ‘Dashavatar‘ released worldwide on March 15th to a massive response. Right from the first single, Matsya – The Fish, the hype built around has been tremendous. Dashavatar is a portal into the ancient Indian transcripts that refers to the Ten avatars of Lord Vishnu, the Hindu God of Protection. This album describes the evolution of Lord Vishnu over different periods of time in ‘The Cycle of Yugas’.
Dashavatar is definitely a direct transformation from the band’s previous outing ‘The Demon King‘; that revolved around the encounter between Ram and the evil king Ravan. Even though this album was mostly written after the keyboardist Mephisto quit; it left a huge blank and people wondered what their new album would sound like but the band has unquestionably written one of the most powerful albums in their 17 year career. I remember when I first heard their 2005 album ‘A Darkness Descends’; I knew these guys were definitely up for something. One of the key things that impressed me of late, was the fact that the band started exploring Indian Mythology; something that I have an extreme affinity for. Coupled with Symphonies and Blackened Death Metal, it was a triple treat indeed, at least for me. A genre that I enjoy a lot.
The picture was taken at MetalDays. Their bassist Ashwin recently quit the band following Mephisto’s departure last September.
When I first heard the album title, I had to make sure that I get hold of this one. The artworks (can be seen below) done by Visual Amnesia is marvellous. Hats off to the creativity! Post Mephisto‘s departure, the band made quite a lot of changes with the approach to their music. One of the most striking details you can find in their new album is the fact that it rides high on melodies, from all the corners. The massive symphonies keep the atmosphere alive and the fresh guitar solos hold the album uptight. The guitar sections are extremely detailed and the progression that is illuminated in the first half through the second half of the album is massive. All thanks to the lightning fast guitar solos by Nishith Hegde that also holds strong with exquisite melodies in every track. The guitars together with the drums show a lot of Power Metal influenced style that merges well with their signature Symphonic/ Melodic Extreme Metal style. There’s a lot of blast beats, just like in the track Narasimha! It’s just so graceful to hear so many instruments that blend in to create something so extraordinary, with classical Indian instruments like Sitar and Tabla in tracks like Matsya and Kurma as such. Also, the idea of using the Flute in the track Krishna was a surprise. The way the album advances from one track to the other is impressive. The chronicles of Lord Vishnu is interpreted in the form of stories that happen in different timelines. Most of the tracks in the album are fast paced but also manage to stick together with the transcending breakthroughs in between but however the album picks up.
The clear cut symphonic parts that takes authority of the album with tonnes of variety and some Folk elements added in between is a huge step up and sounds mammoth. This could easily be passed as one of their most ‘Melodic’ releases. The diabolical growls lended by Demonstealer sound monstrous. The clean vocals added are a welcome sign. The track Krishna refers to everything I have described above. This is one of my personal favourite tracks. Also, the track Vamana that is packed with dynamic riffs and atmosphere. I would personally recommend these two tracks.
The whole album sounds intense and organic due to the upscale production.
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Harsha Vardhan (Metaljesus Magazine- Chief Editor/ Owner)