Burning Saviours - Hundus - Reviews - Diabolical Conquest Webzine

Martin Wijkström - Drums
Mikael Marjanen - Guitar
Andrei Amartinesei - Vocals, Guitar
Fredrik Evertsson- Bass

There is scarce doubt in my mind that Burning Saviours' momentous debut, along with Witchcraft's sublime sophomore effort and Pagan Altar's 'Lords Of Hypocrisy', is very much the finest recording I've laid ears on in the new millennium. A wistful, otherworldly flight of fancy that meshed the drifting, languorous weightlessness of vintage Spring/Dark/Czar-esque prog and bucolic whimsy of Jethro Tull with the off-balance doom rock of classic Pentagram, 'Burning Saviours' was a consummate exercise in mesmeric, bewitching, TIMELESS rock n'roll that has yet to leave my disc changer. The growth that the band has exhibited since their more Witchfinder General and Quartz -slanted demo material cannot be understated, and it would be rather foolhardy to expect the band to dwell in artistic complacency for 'Hundus'. Indeed, this record flaunts a degree of ambition and imagination that effortlessly distinguishes it from its predecessor, the band's penchant for progressive angularity edging out, for the most part, their emphasis on soporific textures.

In many ways, this album is a lot more spirited than its dreamy, doe-eyed sibling- many have been quick to suggest that Burning Saviours and Witchcraft are essentially aesthetic kin, but only uncouth ears would not be able to separate Witchcraft's oppressive Sabbath- soaked despondency from Burning Saviours' sprightly effervescence. With 'Hundus', Burning Saviours have really cemented the glaring differences that exist between them and other Örebro folk, continuing to plumb the inexhaustible well of ‘70s Pentagram, harnessing and channeling the phantasmal energies of vintage '69 garage rock (I detect the looming specters of Blue Cheer, Morgen, Lincoln St Exit at points), siphoning these ubiquitous influences with the spare, languid jazziness of 'Stand Up' –era Jethro Tull and very early Wigwam. Of course, the nasal, exaggerated strains of Andrei Amartinesei whiff of Bobby Liebling and, perhaps more so, Zeeb Parkes, while the bulk of the riffing continues to reek of the musty odor of vintage Pentagram, but to dismiss them as mere facsimiles on the basis of such superficial evidence would be missing the point entirely- Pentagram and Stone Bunny are still the foremost scents in Burning Saviours' sonic potpourri, but a cursory listen to “The Servant”, which alternates between quirky, oddly punctuated guitar strums and minor chord Pentagram blare before shifting into a driving, swelling, flute-accented riff that is suddenly truncated by an abrupt conclusion, suggests that while Burning Saviours have inherited Bobby's panache for off-kilter, distinctively awkward songwriting, they have funneled this sensibility into an approach that is distinctively their own.

This is buttressed by the OUTSTANDING “Lily Marion”, an unabashedly mirthful, mischievous number that goes down a delight with its lush guitars, cooing flutes, spare, open instrumentation and seamless alternations between bubbly vivacity and brooding introspection. Of further note is the BLISTERING solo that erupts near the conclusion of “Dark Lady”, undoubtedly the most aggressive section I've heard from the band to date, and a stark contrast to the comparatively subdued, tuneful solos that the band have employed thus far. I can't help but feel as though Mikael Marjanen's axe work is, for me, the focal attraction of each and every Burning Saviours endeavor- eschewing the wild, unbridled caveman-wah stylings of Vincent McAllister for an EXQUISITELY melodic and literate style that bleeds with soul and emotion, his leads are always expressive and lyrical, as well as stunningly effective, each note echoing with class.

Here I must raise a concern that continues to irk me every time I put this disc in the stereo- for all the adventure and vision of 'Hundus', the rhythm section can, at times, undermine the admirable courage of the new compositions. It is this point that really separates Burning Saviours and Witchcraft as musical ensembles- in my earnest opinion, Witchcraft boast perhaps THE finest quartet of musicians in heavy music today, continually pushing in and out of the musical pocket, flaunting an attention to light and shade that eludes all but the most gifted musicians. I do wish the drumming and basslines on this record reflected more thought and creativity- the straight-down-the-middle bass playing, while benefiting greatly from the PERFECT bass sound (heightened by the fingerstyle playing), can be a bit workmanlike, and for all the sonic spaces that can be exploited in the spareness of the band's sound, one can only wish that the drummer took more chances with his craft. While perfectly capable and exhibiting a considerable sensitivity for swing and groove, the percussion can be a bit primal and underdeveloped in points, something that does not always provide an ideal complement for the slinky, sleek and exceptionally-written compositions. More looseness, more spontaneity, guys!

So yeah, for me this represents a BIT of a slump in quality from the jawdropping debut effort, but I could not hope to deny the fact that this record is, in every sense, far more daring and more chancy than anything the band have done to date. Conceptually, I think this album might very well be the superior of the two, the sole gripe I have about the record lies in its execution. Regardless, Burning Saviours very much remain among my favorite bands of the past few years, and I will continue to namedrop them with reckless abandon- this is transcendental music that will likely outlive most anything that will come out in 2006.