Death Requisite pick up where Revisitation left off and take their symphonic metal to a whole new level on Threnody, even including orchestral versions of the songs.
Florida’s Death Requisite trace their roots all the way back to when the band members were teens in the late 1990s. The band has a relatively storied past, opening for national acts, signing to a label and releasing a couple of albums before life intervened and the band went on hiatus in 2005. In 2010, the band returned, release two projects, Prophets of Doom and Second Death as well as shared the stage with a number of bands from Norma Jean to Terrorizer to Vital Remains. In 2016 the band released Revisitation to critical acclaim where many noticed the combination of death, thrash, symphonic and progressive elements blended seamlessly into their songs.
Having reviewed Revisitation, I had a fairly good idea of what to expect when I hit play on Threnody, and then a little ways into “Primogeniture” that quickly went out the window. What struck me first was the overriding emphasis on the symphonic side of symphonic metal. Keyboards seemed to take a larger role than guitars in many places on the album. Yes, the comparisons to Antestor and Grave Declaration will remain, but the metal seems to be a lesser component in the overall sound this time. Some of it can be attributed to the mix which is a bit overwhelming to the ears, making it difficult to pick out the contributions of the individual instruments. When you see the layout of the album with the metal versions followed by the orchestral versions, this makes a bit more sense. Interstingly the orchestral versions of the songs do seem to be missing something as the overall sound seems a bit thin and would benefit immensely from the inclusion of the bass and drums from the metal side. Otherwise the two versions are nearly interchangeable. Continue reading »