BEN BARUK: Cosmogony
Seriously?!
Out of the gate, if you are a fan of cinematic, conceptual fantasy melodic progressive doom/death metal Cosmogony may be the best (and maybe only album for that matter) which fits that specific niche/descriptive. I mean, this is seriously outrageous … and this is seriously metal, seriously progressive and seriously conceptual … and this is seriously great!
Seriously … I’ve been intermittently listening to this for a few months now (released in early May). And by “intermittently listening” I don’t mean while driving to work or during a work-out. (Ha, surely you jest!) Try intermittent 60 plus minute blocks of time.
Therefore, for Cosmogony to work, for you to even begin to wrap your head around the concepts, the music, the sounds, the words you must “listen” with the intent to ingest, digest/ruminate, process and metabolize … which physiologically speaking takes hours to days.
Sorry, no quick sound-byte blurb review here to give you a quick fix. Cosmogony literally “defies description.” (Come on, Doc) Oh, but you know I am going to try!
Trilogy of Success
I. Starting with the most simplistic statement, Ben Baruk incorporates a diverse number of musical styles and voices into the mix of their Cosmogony. Not only does this raise the curiosity factor, but it also boosts the credibility of the band. Talent attracts talent.
II. They are equally competent with each of these inclusions. The spoken parts are great, the harsh vocals are great, the melodic vocals are great, the cinematic elements are great, the guitars are great, the drumming is great, the songwriting is great … ok, you get the picture.
III. The production, the mix, the mastering … all great. In fact, the only criticism I can find is that the words in the lyric booklet are printed too small (and you can blame that criticism on the reviewer’s biologically decaying optics). But more importantly, what I can’t see, I can hear.
Blessed Son
But wait, who is this band?Cosmogony represents the second release by Brazilian metallers Ben Baruk (Jeremiah 36:4), who hail from Rio de Janeiro. There is little information out there about them – their first release in 2020 is called What Love Is That – so they are a newer band. Rafael Rodrigues (guitar/growls) is credited with also producing this epic. He is supported by Maria Jose (vocals), Andre Fernandes (guitars/vocals), Cadu Matios (bass) and Lais Cunha (drums).
Interestingly, there appear to be a nice cadre of other musicians contributing, most noteworthy Nahor Andrade (Dynasty of Metal) and Duane Keith II (Vision of God). Keith is also credited with guest vocals and with the CD mastering.
About Influences
Accordingly, Ben Baruk’s musical influences appear to be vast, but from what I’ve gleaned so far progressive and epic doom/death metal, like Paramaecium or Opeth alongside more technical contemporary artists like Haken or even Periphery. And even Orphaned Land. However, that would only be touching the surface as there are so many “voices” in the mix that this effort – at least in spirit/intent – resonates with the multi-vocalist, multi-instrumental approach of Ayreon/Star One.
About Faith
The band, according to their Facebook page: “We are a metal band formed by people who share the same faith and worldview, with the aim of creating heavy and extreme music reflecting our daily lives, our convictions and our influences. We believe that Jesus is the savior of humanity, and this is reflected in our songs.”
Origin of the Universe
Cosmogony is defined as the “theory of the origin of the universe.” The band have stated they are fascinated by the idea of the creation of the universe. While I won’t pretend to understand everything going here in the lyrics, it appears they have blended Biblical truths with myths from Tolkien’s The Silmarillion, a “prequel” to the infamous The Hobbit and the Lord of the Rings trilogy, which delves deep into the origins of Middle Earth.
Tolkien’s World Translated … to Metal
The Silmarillion, which takes place during the First Age of Elves and Men, chronicles the war of the Elves against Evil (basically, good vs. evil) on the playing fields of both the unseen spiritual realms and the physical realms of beings. In essence, it represents Tolkien’s creation myth with many themes echoing those with which we struggle today: good vs. evil, greed and power vs humility, civility and a struggle for unity vs. division, submission vs. free will, and bravery against the fate of extinction.
Not insignificantly, putting all these themes and imagery into a coalescent 60 minutes or so of music is a daunting task for the likes of a seasoned concept metal band like Dream Theater or Symphony X or even Saviour Machine, yet Ben Baruk have managed to accomplish this task on only their second album. Praise be, indeed!
Cosmogony Act I
Scene One
I. The Almighty Music
Like the opening notes of a symphony, the ethereal music – with multi-lingual spoken word interspersed – entices the listener into the realm of the creation of the universe. The percussive notes of piano perfectly introduce the melody theme which is expressed throughout the body of the work.
As the music builds through layers of vocal harmonies, Nahor Andrade’s melodic voice cuts through the mix, accompanied by throaty growls,
“Almighty Lord of the universe/A flame that burns forever/The creation of the world rises/Cosmic breath of sound eruption”
Musically speaking, the mix and quality of instrumentation becomes immediately apparent on this opening track – the vocals, the guitars, the punch of the bass drum and the bass guitar’s dynamic rhythm all work in sync and with blended voice.
Additionally, the alternating melodic and death vocals on this track brilliantly complement each other. And around the 8-minute mark, the guitars and drums drive the song forward in perfect percussive cohesion. After the spoken intro words are sung by Andrade, the song flips into a haunting, more cinematic mode as the piano once again echoes the almost Halloween (movie) like melody.
Amidst this haunting piano melody, the guitars, cymbals and massive floor toms swell and ebb with power as the song fades out in cinematic mode with the kind of synth theater sounds heard in the most recent Blade Runner 2049 movie.
II. Cognitive Dissonance
Seamlessly, the music segues into the second movement of the song with dissonant synth effects and more narration. Enter Melkor/Morgoth (aka Satan). Lyrically, this movement describes the rebellion of the most powerful of the Valar, Melkor (who later becomes Morgoth Bauglir) as pride leads to the fall, a metaphor for Lucifer’s similar fall from grace, which leads to the corruption of the creation.
Not surprisingly, the extreme vocals take over the lead from the more melodic verses which preceded. Black and death vocals combine in chronicling the essence of dark rebellion…
“The notes I sang/Desiring power and glory/I turned the song with the evil of conquest/And I craved divinity for myself”
Furthermore, the aggression and pace of the pummeling drum bass and frenetic guitars perfectly depicts musically the expression of rebellion, anarchy and selfish pride within the lyrics.
III. War of the Sacred
Transitioning into the final segment of this “trilogy of creation,” the music takes on a more somber, plodding and doom metal timbre. There is an almost Middle Eastern flavor to the massive guitar riffs and layered vocals. The thundering toms and spoken work hearken back to the Armageddon-like sounds of Saviour Machine’s Legend trilogy.
Subsequently, about 4 minutes into this 13-minute epic, crushing guitars lay down an almost swinging riff as the melodic vocals return to declare:
“In the cadence of centuries/Heavenly Father with love and artifice/Reveal to us the symphony of your mind/In Jesus Christ in whom we can believe”
Surprisingly, mid song, there is an absolutely beautiful and articulate interlude of bass and guitar melody, and it is at this point where the female voice, the melodic voice and the growl perfectly collide in war-like fashion – a plea for peace crushed by the rebellious will of Melkor/Morgoth Bauglir.
“Evil through dissonance/A symphony of pain and torment/The music echoes through the night/ A haunting melody, a frightful sight”
Once again, as the song moves to conclusion the cinematic elements return with sword-clash and effects. After these 30 minutes of music which comprise “Scene One,” Cosmogony is just getting started!
Scene Two
The Firmament Chord
The percussive pummeling which opens the shortest track (instrumental) on the album is mind-numbing in technical execution. Think Periphery, Haken and Between the Buried & Me with an ominous gothic Symphony X undertone. This short piece sounds inspired by Michael Romeo’s War of the Worlds 2-part concept solo project. Brilliant!
Scene Three
Designing the Reality
This symphonic 10-minute epic is a reprise of the creation as the music turns to Paramaecium influenced doom metal. Fans of the Exhumed of the Earth album will feast on the growling vocal delivery, and the slower grooves and rhythms. I am even hearing Tourniquet-like vocals in the middle section.
Subsequently, in Orphaned Land vocal style, the words of truth are so joyfully proclaimed…
“And God said, let there be light and there was light/And separated the light from the darkness/Opening scene of cosmic symphony/Breathtaking melody filling all the reality”
The guitar tones throughout this song are so clear, so articulate, so ominous and so powerful … and so mesmerizingly cool! Consequently, when this song is “said and done,” it doesn’t seem possible that 10 minutes of music have transpired.
[Observation: on this song, the spoken words are not included in the lyric book as they are on the other songs. Fortunately, they are clearly discernable.]
Cosmogony Act II
Scene Four
I. Sounds of Matter
Interestingly, the music which encompasses Act II is less conceptual/symphonic and more song-oriented, which will delight fans of extreme metal.
Scene Four – divided into two parts – could easily be titled “metal onslaught.” This first section musically depicts the process of the creation of matter…
“The silence is shattered with power of divine melody/Subcreative, sculpting reality/Through the will of the One, measureless”
The relentless sounds of grinding guitars, punishing bass riffs, growling and melodic vocals and fast double bass drumming, all moving like a machine underneath frenetic keyboards (think Becoming the Archetype) perfectly reflects the massive energy released in this “cacophony turned into sound.”
II. Bauglir
Dark Enemy Tyrant. One of the most brutal tracks on Cosmogony. Driving thrash beats propel the dark heavy riffs here as several harsh singers trade the mic as they vocalize the demise of an evil spirit, that evil spirit of old, a Bauglir.
“A mirror reflects a shattered soul/A fractured being with a gaping hole/In pursuit of strength/It’s weakened by its thirst/A tragic tale of power, cursed”
Scene Five
The Imperishable Flame
Contrastingly, moving from evil to good, from darkness to light, “Flame” sings of the Spriit, the “source of all that exists.” Celtic pipes open this song of metal praise immediately infusing the “sounds” here with light and hope. The singing and melodies here remind me of Kobi Fahri from Orphaned Land.
Intriguingly, a rare guitar solo graces the run-out section just before there is a slight eerie bending down in tone of the pipes, an ominous portent of what follows…
Scene Six
Trees of Divine
…the taste of death amidst the trees (of Divine). A melancholic guitar lead opens this tragedy of creation, a balladic song which features dueling melodic male and female (Adam and Eve) vocalists lamenting the event of betrayal and disobedience. Duane Keith II guests on vocals on what would qualify as the doomiest, darkest, slowest track on Cosmogony, and certainly the most “human factor,” emotionally engaging one for sure. The final segment of this song literally sounds like a funeral dirge, the pounding drums at the close like a death march.
“The light has been broken/Trees are dry/And solitude remains/Darkness grows, light fades/Bringing shadow and blame/When will all of this end?”
Scene Seven
Fall of the Firstborn
Cosmogony concludes with a memorial of sorts to the “fall of man.” The music here returns to the progressive metal stylings of Haken/Between the Buried & Me where there the song begins in aggressive, rhythmic lurching and then downshifts into the verses with a slower straight rhythm with melodic (male and female) vocals. One criticism here is how abruptly the song ends. On an album so rich and deep with quality songwriting this feels like a bit of a short-changed finale.
“The trees were destroyed/Man fell into sin/Hopeless/Becoming a slave of his desires”
Furthermore, the sense of being “left hanging” begs the question: Is this the end of the story or only the beginning … a sequel forthcoming, perhaps?
Finale
In conclusion, there is no doubt in my mind that Cosmogony will be one of the best “progressive” and epic albums I will hear this year. The diversity of styles and voices incorporated are truly inspiring and the production mix and sound is exceptionally good for a band which is in this early phase of their career – the level of songwriting and creativity equally superb.
Cosmogony is available in both download and CD versions – the latter featuring an 8-page booklet with lyrics and graphics. My only criticism of the booklet is that the lyrics are printed very small (oh yeah, I said that already).
Act I – Echoes of Creation
1. Scene One: I. The Almighty Music (11:27)
2. Scene One: II. Cognitive Dissonance (5:18)
3. Scene One: III. War of the Sacred (13:15)
4. Scene Two: The Firmament Chord (2:58)
5. Scene Three: Designing the Reality (10:14)
Act II – The Ancient History
6. Scene Four: I. Sounds of Matter (5:55)
7. Scene Four: II. Bauglir (4:13)
8. Scene Five: The Imperishable Flame (5:37)
9. Scene Six: Trees of Divine (6:06)
10. Scene Seven: Fall of the Firstborn (3:11)
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