reviwe by: Tom Orgad

Once in a while, one encounters an album that carries qualities way beyond conventional measurement, an album that hovers much above the usual sub-genre labeling and aesthetical definitions. An album that fulfills the true purpose of art, as phrased in the Romantic era: perfectly capturing a certain tumultuous state of mind, creating an absolute catharsis, allowing both artist and viewer to have an abrupt, sublime reflective glance at a hatch towards eternity.

I may relate to very few albums the merit of achieving this godly goal. One of them would be Sculptured's Apollo Ends. Apollo Ends is a concept album, expressing the frustrated, excruciated, bewildered feeling of a person who can't deal with the rising of the Sun, the dawn of a new morning, the beginning of a new day. He admires the night, not as a model of absolute beauty and love, but as a splendorous, binding riddle, urging him to explore it, delve into it. As the Earth ever continues its never ending journey around the sun, unavoidably putting an abrupt end to his passing nocturnal existence, he is overtaken by an ineffable feeling of helplessness, sadness, loneliness. This whole matrix of emotions, impossible to thoroughly express verbally, is artistically reached on Apollo Ends. In my opinion, it is done in a manner that may only be termed "divine."

In what way is it done? How is this miracle achieved? As you probably figure, this method cannot be fully defined in an article. As every transcendental idea and spiritual insight, it may only be acquired by personal experience. To temporarily resolve the curiosity of those not familiar with the band, I'll mention that Sculptured would probably be labeled a melodic death metal band. It incorporates great multi guitar work (all parts done by band leader Don Anderson), subtly shifting between harmonic and dissonant moves, surprisingly changing rhythms and moods, brilliantly emphasizing the feelings of eerie melancholy described above.

Vocals apply both clean, melodic singing and death metal screams; yet, even in the latter case, brutality is never apparent. The production work is excellent, allowing a very clean and crunchy sound, surprisingly featuring an occasional perfectly combined woodwind part or jazz interlude, in cooperation with the tight rhythm section and good coordinated band play rendering this album palatable even to those who sadly can't apprehend the possible spiritual ascendance it treasures.

But, again: please ignore these vainly described aesthetic elements. It doesn't matter which musical genre appeals to you, may it be brutal death, symphonic death, sludge doom or commercial pop. Just listen to the album once, absorb the musical greatness. Than, listen to it once again, while reading the lyrics. That's all you need to do in order to alter your entire musical perception. And hopefully, if you are sufficiently ripe and mentally prepared, it just might change much more than that.