When you think of early death metal, Messiah is probably not the first band that comes to mind. That’s assuming you know who Messiah is. In case you don’t, here’s a brief primer. Hailing from the small municipality of Baar, Switzerland, Messiah formed in 1984. Throughout the late 80s, they released a string of albums and demos that reflected the burgeoning extreme metal underground, or more specifically, the advent of death metal. The most prominent of these releases was their raw debut full length, Hymn to Abramelin (1986).
As the years went on, Messiah refined their craft and released a full blown death/thrash classic in Choir of Horrors (1991). A couple more studio albums followed before the band dissolved for the better part of two decades. Fracmont is their long awaited comeback release. Now here’s the thing about death metal comeback albums. They tend to be either really good (see Possessed’s Revelation of Oblivion) or really bad (see Morbid Angel’s Illud Divinum Insanus *shudders*). There’s no in between. Thankfully, Fracmont falls in the former.
The only difference between Fracmont and past Messiah releases is the inclusion of some progressive influences. Some songs are lengthier than others, including “Morte al dente”, “Children of Faith”, and the nearly 10 minute title track. There’s acoustic guitars, symphonic elements, and various tempo changes throughout, though without ever abandoning that classic Messiah spirit. These prog tracks sound like what modern Behemoth wishes they could sound like.
The rest of Fracmont is largely mid tempo death/thrash done old school and right. Each track smacks you like an unexpected fist to the face. The riffs are meatier and mightier than ever. The dragging, doom laden dirges “Urbi et orbi” and “Throne of Diabolic Heretics” bear resemblance to fellow countrymen, Celtic Frost. Can I get an “ough”?! And how about my choice cut, “Singularity”? Two and a half minutes is all Messiah needs to remind us just how much we missed them. This song is as lethal as an unchained rabid dog. “Singularity”, in all its savage glory, would fit perfectly on Choir of Horrors.
Finally, I cannot praise the production of Mr. V.O. Pulver enough. Too many times we’ve seen classic metal bands come back, in some cases with songs as strong as the glory days, only for them to be ruined by a soulless, sterile, modern production. Fracmont nails the late 80s/early 90s death metal sound to a tee. It’s the perfect balance of raw and polished, with the guitars front and center.
When someone asks what album they should “start with” when checking out a band they never heard of, it’s common courtesy to recommend the band’s “classic album”, usually released sometime before both who were having the conversation was born. Rarely would you recommend said band’s new album. In the case of Messiah, I would gladly recommend Fracmont alongside Choir and Hymn. The second coming is here and boy is it heavy.
7 out of 10
Label: High Roller Records
Genre: Death/Thrash Metal
For fans of: Protector, Death, Sepultura