webzine

This digipack is the first audio release from the well-known and respected Lithuanian magazine and it's also the first CD from Lithuania's band after a pair of demos. Don't confuse it with other homonyms from Brazil, Czech Republic, Portugal, nor from the Netherlands. These guys state they play Avantgarde Black metal and there are actually points of contact with Emperor, Dimmu Borgir and Arcturus, but the agonized screaming vocals used in most part of the songs of the Vilnius act are closer to Chuck Schuldiner. There are also fragments of Mathcore and Prog within the 4 long real tracks (the first is just an intro), for instance at around 3 minutes before the end of "Principia Mathematica Philosophiae Naturalis". Moreover, the stubborn piano lines in "Die Welt als Wille und Vorstellung" add further elements that show that besides the occasional symphonic Black metal riffs (not many actually) and the Black metal vocals, there's so much more to discover and enjoy besides the initial categorization in this same track and in the rest of the album, all the more because the compositions contain a great deal of structures, stops, rhythm and pattern changes. Luckily, all this is made with ability and doesn't leave us with the bitter taste of 'collage damp-squib' many other records do.
Sympho Black, Death and Thrash with really original circular riffs are in "Corpus Hermeticum", nevertheless the rising Avantgarde metal act offers the best guitar riff in "The End of Certainty; Supremum". The former also includes a noteworthy union between odd landslide drumming and Techno-Thrash riffs, and there's also place for a Doom part in the vein of My Dying Bride; the latter is opened by a disrupting main riff which comes back later, but it's such a multiform song that you'll find a Slayer riff as well ("Season in the Abyss"-era), a keyboards fugue reminding, like the previous ones) a symphony from the world of classical music (J. S. Bach, Prokofiev, Roussel, Stravinskij, Sciostakovic, Chakaturian, Vaughan Williams, Malipiero, Hindemith, Honegger, Milhaud, Bloch, Szymanowski, Martinù, Villa-Lobos, A. Copland and so forth) and an intense couple work of drums and keys.
The 5-track music is elaborated, but not sophisticated and its lyrics, dealing with metaphysics, epistemology and empiricism, are fascinating and only apparently intricated.
If there's a thing I don't like too much that is the mixing: I mean, once bands with two guitar-players used to distinguish them clearly, now they do the opposite; this works when they're playing the same riff, so the effect is doubled, yet when the roles of rhythm and lead guitars are separated, this should be emphasized, and here this doesn't happen much. With the contrast stressed out, the compositions would have been even more involving. Lastly, the bass is buried in the mix too often, and that's a pity because it has so much to offer. The rest of the instruments are hearable clearly and boast awesome sounds.
Inquisitor don't have as much fantasy as Dark Millennium, but they occupy one of the highest rankings amongst experimental combos. They prefer fast patterns and when the rhythm slows down, they don't recur to acoustic guitars like the Germans, but bet all their chances on the keyboards. A different approach which works out, too.
Very appealing to the ear and sure to please fans of compositing and arranging solutions going out of the usual track and bringing forth the spirit of those on a quest on (semi-)virgin musical territories. Recommended the original because of the artwork and the digipack 100%!

MARKUS GANZHERRLICH - 20th October 2011

	'*The Quantum Theory of ID' (Forgotten Path) MARK: 82/100*



	This digipack is the first audio release from the well-known and respected Lithuanian magazine and it's also the first CD from Lithuania's band after a pair of demos. Don't confuse it with other homonyms from Brazil, Czech Republic, Portugal, nor from the Netherlands. These guys state they play Avantgarde Black metal and there are actually points of contact with Emperor, Dimmu Borgir and Arcturus, but the agonized screaming vocals used in most part of the songs of the Vilnius act are closer to Chuck Schuldiner. There are also fragments of Mathcore and Prog within the 4 long real tracks (the first is just an intro), for instance at around 3 minutes before the end of "Principia Mathematica Philosophiae Naturalis". Moreover, the stubborn piano lines in "Die Welt als Wille und Vorstellung" add further elements that show that besides the occasional symphonic Black metal riffs (not many actually) and the Black metal vocals, there's so much more to discover and enjoy besides the initial categorization in this same track and in the rest of the album, all the more because the compositions contain a great deal of structures, stops, rhythm and pattern changes. Luckily, all this is made with ability and doesn't leave us with the bitter taste of 'collage damp-squib' many other records do. Sympho Black, Death and Thrash with really original circular riffs are in "Corpus Hermeticum", nevertheless the rising Avantgarde metal act offers the best guitar riff in "The End of Certainty; Supremum". The former also includes a noteworthy union between odd landslide drumming and Techno-Thrash riffs, and there's also place for a Doom part in the vein of My Dying Bride; the latter is opened by a disrupting main riff which comes back later, but it's such a multiform song that you'll find a Slayer riff as well ("Season in the Abyss"-era), a keyboards fugue reminding, like the previous ones) a symphony from the world of classical music (J. S. Bach, Prokofiev, Roussel, Stravinskij, Sciostakovic, Chakaturian, Vaughan Williams, Malipiero, Hindemith, Honegger, Milhaud, Bloch, Szymanowski, Martinù, Villa-Lobos, A. Copland and so forth) and an intense couple work of drums and keys. The 5-track music is elaborated, but not sophisticated and its lyrics, dealing with metaphysics, epistemology and empiricism, are fascinating and only apparently intricated. If there's a thing I don't like too much that is the mixing: I mean, once bands with two guitar-players used to distinguish them clearly, now they do the opposite; this works when they're playing the same riff, so the effect is doubled, yet when the roles of rhythm and lead guitars are separated, this should be emphasized, and here this doesn't happen much. With the contrast stressed out, the compositions would have been even more involving. Lastly, the bass is buried in the mix too often, and that's a pity because it has so much to offer. The rest of the instruments are hearable clearly and boast awesome sounds. Inquisitor don't have as much fantasy as Dark Millennium, but they occupy one of the highest rankings amongst experimental combos. They prefer fast patterns and when the rhythm slows down, they don't recur to acoustic guitars like the Germans, but bet all their chances on the keyboards. A different approach which works out, too. Very appealing to the ear and sure to please fans of compositing and arranging solutions going out of the usual track and bringing forth the spirit of those on a quest on (semi-)virgin musical territories. Recommended the original because of the artwork and the digipack 100%! MARKUS GANZHERRLICH - 20th October 2011
	Current line-up: Lord - v., k. Niku - rhythm and lead g. Garloq - d. (also in Dark Ravage, Screaming Silence) Andrius - lead and rhtyhm g. Pastor - d. Contacts: Vilnius - Lithuania E-mail: Official sites: http://www.inquisitor.lt http://www.myspace.com/inquisitorlt Demo-/Disco-graphy: -Demo (Demo - 2004) -Prelude (Demo - 2005) -The Quantum Theory of ID (CD - 2010)