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Saturday, April 2, 2016

Review: Mortiis - The Great Deceiver


Mortiis…remember, the odd guy, with the bog crooked nose and pointy ears? The guy who used to make atmospherical music, sort of classical, sort of sound-track like. After 2001 the style changed to a more electronic industrial style and this developed over time. The Great Deceiver sounds a lot like ‘Marilyn Manson meets Nine Inch Nails’. The industrial style, screeching vocals, rock guitar. If it were not for the fascinating image that Mortiis created around himself, the album would not be of great interest.

The album starts in an ugly way, which reminds me of teenagers wanting to express their anger. The lyrics of The Great Leap seem to be merely around the theme ‘how do I include as much the word ‘fucker’ in one song?’.
If you get past this song you will find that after this great leap, the album is quite alright. The Ugly Truth has a nice song structure and Demons Are Back is a really catchy, yet still industrialised song.

Hard To Believe and Road To Ruin have a classical grunge build up, which gives space for the clean voice of the singer. Listening to the songs I cannot overcome the feeling of listening to Babylon Zoo, though.

The Shining Lamp of God is a typical Marilyn Manson song, aggressive and fast. Followed by Sins of Mine, a relaxed song, giving space for a gasp of breath after so much aggression.

Next to last song Feed the Greed not only has a great title, it also has a nice way of building up tension layer after layer.
Album closure Too Little Too Late has some new elements in the song, rocky, electronic even some dance floor rhythms.

So what can one say about the album? Mortiis as an artist is an interesting one. You never know what he will look like and whether or not the style will change. This time he stayed close to what is already known, an aggressive industrial style, with rock elements. The label states it is one of the more accessible albums.. The style can be heard in Nine Inch Nails and Marilyn Manson albums, and in that way it does not contribute largely to an amazing new interpretation of this sort of music. More variation would do the album some good, but all in all, it stands like a rock.

Written by Martijn Bakker

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