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Avg: 4.0 (43 ratings)
- Date Released: January 1, 1990
- Genre: Alternative/Punk
- Style: Alternative, Goth
- Label: Beggars Banquet
Overblown, escapist nonsense — and utterly fantastic.
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We Say...
With Elizium, cuddly Carl McCoy and chums established that they definitely had what it takes to put together an album which made them sound like practitioners of unclean majicks. The gravel-throated vocals are kept on the correct side of Cookie Monster absurdity, layer upon layer of guitar create a dense barrier through which light surely cannot penetrate and Aleister Crowley pops up in a cameo role. It doesn’t end there. Proper dedication to the art of pretentious songwriting splits the record into various “movements,” resulting in a healthy number of tracks over the seven-minute mark (the minimum time-span that any demon-summoning acolyte should be pitching for). Chief amongst these is the magnificent “Sumerland (What Dreams May Come),” a lengthy series of moody bass throbs and staggered crescendos, surrounding harrowing philosophical musings about the nature of reality, souls and sleeping with angels. Or something. Like the rest of the album, it’s overblown, escapist nonsense — and is therefore utterly fantastic.
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They Say...
For the first time since Dawnrazor, the Nephilim worked with someone other than Bill Buchanan as producer; whatever Andy Jackson's particular qualifications, happily he knew not to ruin a good thing. The end result was the band's best all-around album, consisting of four lengthy pieces that showcase their now near-peerless abilities to create involved, textured, driving, and loud pieces of rock. It was still goth as all heck, but like the best bands in any genre, the Nephilim transcended such artificial limitations to create their own sound. McCoy still comes up with an occasionally curious lyric, to put it mildly, but such is the power of his performance as well as the band's that, at least for the time it's playing, Elizium really does sound like it's about to call up darkling spirits from the nether planes. The opening song is divided into four parts but mainly known by its second, "For Her Light," which was edited into a single. It moves from initial crashes of noise, feedback, and keyboards to catchier brooding and riff action, a calmer midsection with appropriate samples of Alistair Crowley, and a last slamming run to the song's conclusion. "Submission" stands on its own, switching between minimal bass with guitar stabs and massive crescendos. "Sumerland (What Dreams May Come)" takes the apocalyptic element of the Nephilim to its furthest extent; its relentless pulse supports some of the most powerful guitar out there while McCoy achieves a similar high point with his commanding voice. "Wail of Sumer" concludes Elizium on a striking two-part note, gently floating rather than exploding over its length, while McCoy's lost, regretful voice drifts along with it as a soft, yet still unnerving conclusion. Combine that with another fantastic job on art design, and Elizium, once you accept the Nephilim's basic conceits, simply stuns.
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| 01. |  |
(Dead But Dreaming) |
1:28 |
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| 02. | |
For Her Light |
3:01 |
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| 03. | |
At the Gates of Silent Memory |
8:24 |
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| 04. | |
(Paradise Regained) |
2:29 |
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| 05. | |
Submission |
8:28 |
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| 06. | |
Sumerland (What Dreams May Come) |
11:09 |
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| 07. | |
Wail of Summer |
6:24 |
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| 08. | |
And There Will Your Heart Be Also |
7:37 |
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08 Total Tracks, 49:00 Total Length
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Credits
- Fields of the Nephilim - Producer // Fields of the Nephilim - Main Performer // Jon Carin - Keyboards // Andy Jackson - Producer // Andy Jackson - Engineer // Chris Bigg - Design // Peter Yates - ? // Carl McCoy - ? // Sheer Faith - Design // Sheer Faith - Illustrations // Paul Wright - ?
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