Virus - The Agent That Shapes The Desert
Reviewer: Symor Vonn Dankurt - 2012-09-04
Highlights: Chromium Sun
Whenever I see a new release from Czral, the creator of masterpieces like "Carheart" or "Written in Waters" (first album with Virus, 2003 and second with Ved Buens Ende, 1995) my curiosity comes out like when I was a teenager and Metallica released their new work. After 3 years from "The Black Flux" great album, Czral (Carl-Michael Eide) comes back with his own creature, Virus, with unbalanced, virulent and obsessive methods of describing the real/unreal modern times. Virus is not only a project of the great man mentioned above, is a child who is growing, who is already grown, and whenever appears shows mutable forms, enlarged, enriched; this child is son of a madness called Ved Buens Ende, a basement for the avantgarde world scene, where music genres were just a ridiculous cages; Czral also assigned the artistic heirness of Ved Buens Ende to Virus.
Introducing the new album is simple because it follows almost linearly the evolution of the previous one, sometimes with complex and haunting structures, where a listener going to lost himself, sometimes with simple rock mid-tempos (take care of word "simple" with Virus) in which vocals are particularly inspired. "The Agent that Shapes the Desert" can't be judged bad: fans of "incessant evolutions" will find in it many good stuffs, to make them satiated; the others have simply to pay attention to music, possibly listening too many times the album, and all doubts will be cleared.
The album starts with the easy part (also "easy" seems to be always incorrect with them), with the title track, 'Continental Drift' and 'Chromium Sun', following the path of "The Black Flux", with dissonant riffs and unordinary drum parts; in 'Chromium Sun' (one of the best song) can be noted the evolution in vocals of Czral.
Then comes 'Red Desert Sand', song that gives first warnings about this album, that is not simply a prosecution of the previous step, but has many new features inside. As 'Red Desert Sand' recalled, next song is an intermission that splits the album and show us the more personal path taken by Virus, also as a future perspective; from here to the end of the album, the listener will be brought in a desert, at dusk, where the only things can be view are a crazy man playing his guitar and sing among rattlesnakes, cactus.....with arid landscape.....no life around!
'Dead Cities of Syria' and 'Parched Rapids' are absolute masterpieces of the scenario described above.
The album ends with 'Call of the Tuskers', where there's the apparition as a guest of Kristoffer Rygg to complete the value of the work.
Open-mind people will understand the importance of this work, because it appears like an idea container, among the poorness of the new millennium music; no criticisms and no praises, only objective opinions...and this album has to be listened!