兀突骨 – 不死 (Immortality)
Band: 兀突骨
Album: 不死 (Immortality)
Genre: Death Metal
Once again, Gotsu Totsu Kotsu crafts an incredibly rich sonic experience using the traditional trio of instruments. Throughout *Immortal*, Gotsu Totsu Kotsu maintains their signature high-speed fluidity. Amidst torrential blast beats, the musicians’ dazzling instrumental solos weave through the tracks, blending ferocity with agility. Crucially, these interludes prevent auditory fatigue or repetition as listeners journey through the album. Gotsu Totsu Kotsu avoids mere self-replication; this album introduces numerous elements previously absent from their sound. It stands as a work brimming with sincerity and innovation.
The album exhibits remarkable cohesion. The opening track, the one-and-a-half-minute instrumental “討タレタ者ヘノ子守唄”(Lullaby For The War Dead) Grand strings and building drum patterns gently immerse listeners in Gotsu Totsu Kotsu’s world. As the intro concludes, the brutal, aggressive drum intro of “不滅ノ魂”(Anima Immortalis) signals the return of the Gotsu Totsu Kotsu fans know best. Takahata’s vicious death growls, paired with the soaring backing vocals, create a seamless transition from the opener. In “影ノ宿命”(Hidden Destiny), Gotsu Totsu Kotsu further expands their musical vocabulary, blending heavy funk elements. Koki’s drumming masterfully bridges the rhythmic shifts between extreme metal and funk, ensuring the song flows effortlessly.
“修羅ノ道”(The Path Of Carnage) snatches listeners back to Gotsu Totsu Kotsu’s signature death metal rhythms with blistering guitar work. Takahata’s bass solo immediately follows Enjouji’s exquisitely crafted guitar solo, propelled by Koki’s rapid drumming. The song’s structure is tightly woven, delivered in one seamless breath. The next track, “都ヘ”(To The Capital), continues the sonic trajectory of its predecessor, with Enjouji’s guitar work taking center stage. This is classic Gotsu Totsu Kotsu-style death metal.
The drum solo in the intro of “永遠ノ武名”( Eternal Warrior Fame) is a standout moment. The guitar solo’s melody is catchy, offering a refreshing auditory experience amidst the sustained high-speed instrumental performance. “一網打尽”(Annihilation) is driven by its guitar riff, creating an atmosphere of malevolence and ferocity. Here, the lyrics shift to depict the cruelty of reality, while the relentlessly compelling guitar riff throughout imbues the song with a defiant, death-defying spirit.
“異形ノ獣”(Ghoulish Beast) continues the high-speed drumming from the previous track, transporting listeners into an even more bizarre and intricate musical landscape. Enjouji’s guitar solo evokes the triumphant atmosphere of a warrior slaying a demon, followed by a reprise of the opening section. The song’s structure flows seamlessly, with uniquely creative details throughout. “生ケル骸”(Living Corpse) is another guitar-riff-driven track on the album. The bass solo and drum patterns seamlessly transition into the next section’s ornate guitar solo, with alternating fast and slow rhythms creating intense structural tension.
“七生滅賊”(Destroy The Enemies For Seven Lifetimes) opens with a rhythmic ensemble intro, gradually building into a guitar riff. The tempo slows here, with Takahata’s death growls punctuated by pauses that steadily heighten the song’s intensity, serving as a buffer before the next guitar solo. The coda’s Eastern-inspired guitar solo propels the audience toward the album’s conclusion. The final track, “不死ノ山”(Mountain Of Immortality), propels listeners to the album’s climax with blistering blast beats. Gentle instrumental passages masterfully balance the aggressive death growls and the song’s despair. The instruments fade out early, leaving Takahata’s death growls to deliver the song’s conclusion. The deliberate instrumental silence creates a clean, decisive conclusion—powerful and unambiguous.
Listening to this album, it’s impossible not to envision the musicians performing these technically demanding pieces live. Each solo heightens anticipation for the live rendition of this new release. May Gotsu Totsu Kotsu could return to mainland China in the near future to perform this incredible album.
Just two years after releasing “Back from the Underworld” in 2023, Gotsu Totsu Kotsu returns with their seventh album“不死”(Immortal), featuring a stable lineup.
Once again, Gotsu Totsu Kotsu crafts an incredibly rich sonic experience using the traditional trio of instruments. Throughout *Immortal*, Gotsu Totsu Kotsu maintains their signature high-speed fluidity. Amidst torrential blast beats, the musicians’ dazzling instrumental solos weave through the tracks, blending ferocity with agility. Crucially, these interludes prevent auditory fatigue or repetition as listeners journey through the album. Gotsu Totsu Kotsu avoids mere self-replication; this album introduces numerous elements previously absent from their sound. It stands as a work brimming with sincerity and innovation.
The album exhibits remarkable cohesion. The opening track, the one-and-a-half-minute instrumental “討タレタ者ヘノ子守唄”(Lullaby For The War Dead) Grand strings and building drum patterns gently immerse listeners in Gotsu Totsu Kotsu’s world. As the intro concludes, the brutal, aggressive drum intro of “不滅ノ魂”(Anima Immortalis) signals the return of the Gotsu Totsu Kotsu fans know best. Takahata’s vicious death growls, paired with the soaring backing vocals, create a seamless transition from the opener. In “影ノ宿命”(Hidden Destiny), Gotsu Totsu Kotsu further expands their musical vocabulary, blending heavy funk elements. Koki’s drumming masterfully bridges the rhythmic shifts between extreme metal and funk, ensuring the song flows effortlessly.
“修羅ノ道”(The Path Of Carnage) snatches listeners back to Gotsu Totsu Kotsu’s signature death metal rhythms with blistering guitar work. Takahata’s bass solo immediately follows Enjouji’s exquisitely crafted guitar solo, propelled by Koki’s rapid drumming. The song’s structure is tightly woven, delivered in one seamless breath. The next track, “都ヘ”(To The Capital), continues the sonic trajectory of its predecessor, with Enjouji’s guitar work taking center stage. This is classic Gotsu Totsu Kotsu-style death metal.
The drum solo in the intro of “永遠ノ武名”( Eternal Warrior Fame) is a standout moment. The guitar solo’s melody is catchy, offering a refreshing auditory experience amidst the sustained high-speed instrumental performance. “一網打尽”(Annihilation) is driven by its guitar riff, creating an atmosphere of malevolence and ferocity. Here, the lyrics shift to depict the cruelty of reality, while the relentlessly compelling guitar riff throughout imbues the song with a defiant, death-defying spirit.
“異形ノ獣”(Ghoulish Beast) continues the high-speed drumming from the previous track, transporting listeners into an even more bizarre and intricate musical landscape. Enjouji’s guitar solo evokes the triumphant atmosphere of a warrior slaying a demon, followed by a reprise of the opening section. The song’s structure flows seamlessly, with uniquely creative details throughout. “生ケル骸”(Living Corpse) is another guitar-riff-driven track on the album. The bass solo and drum patterns seamlessly transition into the next section’s ornate guitar solo, with alternating fast and slow rhythms creating intense structural tension.
“七生滅賊”(Destroy The Enemies For Seven Lifetimes) opens with a rhythmic ensemble intro, gradually building into a guitar riff. The tempo slows here, with Takahata’s death growls punctuated by pauses that steadily heighten the song’s intensity, serving as a buffer before the next guitar solo. The coda’s Eastern-inspired guitar solo propels the audience toward the album’s conclusion. The final track, “不死ノ山”(Mountain Of Immortality), propels listeners to the album’s climax with blistering blast beats. Gentle instrumental passages masterfully balance the aggressive death growls and the song’s despair. The instruments fade out early, leaving Takahata’s death growls to deliver the song’s conclusion. The deliberate instrumental silence creates a clean, decisive conclusion—powerful and unambiguous.
Listening to this album, it’s impossible not to envision the musicians performing these technically demanding pieces live. Each solo heightens anticipation for the live rendition of this new release. May Gotsu Totsu Kotsu could return to mainland China in the near future to perform this incredible album.