Review Summary: Thy Catafalque returns with yet another album not only pushing boundaries, but completely obliterating them.
Thy Catafalque's consistent and prolific discography seems to be getting better and better with each successive album. The process of exploring otherworldly musical elements and gradually integrating them into a solid, punchy extreme metal base has been the order of the day for Tamás Kátai over the last quarter of a century, and it's that work ethic in particular which has paid off in the end. When you look over such a flourishing back catalogue of records you'd be forgiven for thinking that Thy Catafalque will surely come to an end one day, and yet fresh material keeps rearing its head when you least expect it. Case in point: This year's
Vadak, which not only keeps guiding you down a seemingly bottomless rabbit hole but also delights in so many ways for so many different listeners.
It's clear that
Vadak is a more immediate album than any of its predecessors. Whilst the heaviness of the rhythm section is notably more prominent, it's clear that Tamás still wanted to portray a multi-faceted approach to his songwriting. From the initially electrifying beats of opener “Szarvas” comes a real grip on the listener's attention, bouncing, industrial guitar work pulsating with a real earthy presence that never lets up until the song's end. The likes of “Gomboc” and “Az Energiamegmaradás Torvenye” continue in similar fashion but present more of a driving, aggressive force which although does away with folksier and jazzier elements still pushes set boundaries. “Gomboc” in particular utilizes harmonic guitar work to present some of the most memorable riffs Kátai has written in his career, before the song clatters to an industrial, stomping finish. “Az Energiamegmaradás Torvenye” concentrates on metallic exploration but also opens itself into more atmospheric territory, essentially becoming a song of two halves as the main riff changes abruptly at the midway point.
For every instantly accessible riff there's also a intricate harmony developed by saxophone, violin, and a multitude of other vocalists offering their individual talents. “Koszontsd a Hajnalt” is a much more folk-oriented piece which indulges in guest vocalist Martina Veronika Horváth's dulcet tones, an aspect which raises the song into upper echelons and presents a dreamy soundscape virtually unmatched by any other song in the album. It's a real highlight and distances itself from the rest of
Vadak, and despite the slightly Celtic metal inspiration bringing to mind Eluveitie's latter day material, the rest of the song embarks on a more open-minded journey through different musical elements. As the album progresses these folksier elements become more subtle albeit no less exemplary. “Kiscsikó” is a lot lighter and perhaps the first song of the album which doesn't rely on a metallic backbone to get going, instead bringing forth a fresh, original musical break which sees Carolina D*ez's acoustic guitar putting most of the work in. It just goes to show that because of his sheer songwriting talent, Tamás can arrange so much with one instrument.
For better or worse,
Vadak certainly seems to be an album of two halves. The first five or six songs seem to be more immediate and leave very little room for the listener to take in everything that's happening, but the second half of the album really takes off into uncharted territory. There's songs like “A Kupalovarós Titka” which clearly focus on a jazzier direction, the elegant voice of Julia Pfiffner providing subtle narrative alongside the Patrick Bottcher's saxophone introduction, which essentially takes over most of the song. However, these elements are used in wild fashion, serving as a fitting companion alongside those electrifying sonic beats. The same can be said for “Piros-Sárga”, which is probably the most accessible song of the album thanks to a very danceable, almost funky instrumental rhythm made soulful thanks to the guest vocals of Dadan Bogdanov*c, whose voice is surrounded by a strange, satisfying combination of jazzy instruments and middle Eastern percussion. It's a real frenzied combination of elements but reflects just how much there is to take in.
As with virtually every other album in Thy Catafalque's discography,
Vadak is a very exploratory album which once again sees Tamás Kátai as a musical journeyman, ranging from the heaviest rhythmic rumbles to delightfully organic harmonies, and everything in between. It's not the first time I've said this about a Thy Catafalque album: Where exactly does Tamás take his musical direction from here? Wherever he goes, it will surely be brilliant.
