My first contact with Imperial Triumphant was with 2018’s Vile Luxury, and it left a long-lasting impression. This was odd to me, as complex, jazzy extreme music is not usually my jam, but the disturbing way these New Yorkers married the dissonant sounds along with an exquisite concept revolving around the disgustingly greedy aristocracies of the roaring 20s made it an exception, particularly with brilliant art deco aesthetics to boot. The year after, I saw them for the first time at Roadburn festival in a now-closed stage that was the annex of a church; it was the last set of the last day so needless to say it felt like the culmination of my music-week. I saw them two more times just a couple of years ago as they were touring for Spirit Of Ecstasy, and it was gratifying to see that the crowds were now much bigger, and the band’s charismatic and dramatic stage presence got even more refined.
And it is under the light of the band’s concert experiences that a shift in style was in order; at least that’s what I get from the press release that accompanied Goldstar. Often during their touring as a support band, their sets became constricted, as nearly all songs from their last three albums are around 6-to-8 minutes long. Not satisfied with only playing 3-4 songs per concert, and further influenced by the handful of covers they have released of bands like Radiohead, Metallica and Rush, Imperial Triumphant decided to explore more traditional songwriting.
Does this mean Goldstar is too simple? Too accessible? Or even * gasp * a sell out?
Hell no! This still is miles away from accessible music. To even compare it to Abyssal Gods due to Goldstar being similarly short would also be a very incorrect comparison. Truth is, Imperial Triumphant are as ambitious as ever with their songwriting. Being weird is easy. Being weird, able to set boundaries and stay focused is an entirely different game. It’s really commendable that the band is willing and capable of creating these twisted hymns of decadent beauty in a bite-size format, and I have no doubts in my mind that tracks like the opener “Eye Of Mars” and “Rot Moderne” will rip people’s faces off in a live setting. I’m delighted that the band wants to have more immediate songs in their repertoire for upcoming shows.
Speaking of “immediate”, how about some wild grindcore in the blink-and-you-miss-it “NEWYORKCITY”, with the demented shrieks of Yoshiko Ohara* on top? The name of the game is dynamics, and Imperial Triumphant are clearly winning here; the songs have a much clearer direction now, while keeping all the things the fans love about their music intact. The riffs are crushing, while the morbid bassline adds much weight to the quieter, pensive moments. The drums are frightening in their complexity and hit so hard and well due to the pristine production work, which might actually be the best one they ever had.
At times, it does seem that the album passes you by a little too quickly, but there is still so much to go through that repeated listenings are more than welcomed and thoroughly enjoyable. The most luscious examples of extravaganza can be found in “Gomorrah Nouveaux” with its rhythmic focus, the aforementioned “NEWYORKCITY” that channels the avantgarde depravity of Naked City, and “Pleasuredome”, which straight up turns into samba death metal. It's probably the only track I wouldn't mind having 3 more minutes of. But you just wait for the last track: closer “Industry Of Misery” is the one track off Goldstar that feels closer to the bands older output in regards to length, and just when you think you have the song figured out after the first half, the band - spoiler alert - suddenly slows things down, blows you away with one of the sexiest guitar solos of the year so far, and straight up covers the ending of The Beatles' classic “I Want You (She’s So Heavy)”.
So yeah, Goldstar is, to quote a certain monkey, the wildest cigarette commercial you will ever hear. The album is perhaps Imperial Triumphant at their most palatable, but with the band having sacrificed none of their artistic integrity in the process.
*= Dear Yoshiko Ohara, if you read this: I implore you to either resurrect Bloody Panda or release new haunting music. I adore your screams and I can’t stay satisfied just with your guest appearances on Imperial Triumphant albums. I need more!
