There is a little of everything contained in the complex, rangy 5 to 10+ minute conceptual songs; Thrash, death, groove, black and prog. Vocalist Przemysław Kajnat is equally as varied with a range or rasps. growls and well done clean croons. The end result is a deep album that requires some patience,  and isn’t an immediate, catchy listen, but that patience is well rewarded with 45 minutes of solid, progressive extremity.

The production is big and glossy, giving all the styles equal depth and breathing room and while there is not a whole lot of immediacy, the twisty turny, style is highlighted by the first real track “Esoteric Manifestation”, but then you get a more memorable “Sweet Isolation” with some choirs and a restrained pace. The ten minute monster “Reinvented” then really shows the band’s depth and variety, with the last third being the best moments on the album, with nice choirs, deeper vocals. “Mothman” then takes a little acoustic break before 7 minute highlight in “Mimes, Ghouls and Kings” renders another big, sprawling, epic track that feels like the albums centerpiece.Another 10 minute beast, “Glacier” ends the album with a more stern delivery and a more twisted take on the synths, but closes out with a really nice crunch and choirs.

That all said, while I enjoy the album, I have to say I’m not completely enamored like I am with some of the albums by bands in the opening paragraph. It’s a solid release with lots of things to like and while reviewing it, I dug it. But I cant say I’m digging for the band’s back catalog of craving the next album.

So I’ve cracked open the coffin once more, and this time, found Poland’s Eternal Deformity. They offer a similar mix of styles as Dimmu; not quite black metal, not quite thrash or groove metal, but an even blend of all of it, with ringing, melodic guitar solos and goth-classical symphonics. Check out the opening tracks, “Thy Kingdom Gone” and “Lifeless” for good solid examples of this. Yet there’s another major element at play here, which marks Eternal Deformity’s sound as their own – a doomy, introspective and progressive tone and songwriting approach that reminds me of countrymates Riverside. It’s an intriguing mix of the pompous and the pensive, and is best represented in tracks like “Pestilence Claims No Higher Purpose” and “Caught Out Lying.”

Eternal Deformity also offers a nice contrast in their dual vocals. Przemyslaw Kajnat’s black vocals are thick and throaty, bordering on death growls at times, but his clean vocals are even more impressive. When he sings out, they’re powerful and clear like Vortex (though not on the same level), but in the album’s more melancholy moments, he affects a velvety croon. Riverside vocalist Mariusz Duda comes to mind, but I hear Vincent Cavanagh of Anathema even more (particularly from the later goth/prog albums like Judgement and A Fine Day to Exit). It’s expressive without ever becoming overwrought or tear-stained.

As I said earlier, the symphonics are just lavish enough to provide a fanciful counterpoint to the downtuned guitars, but they’re rarely overpowering. Except for track 6, “The Beauty of the Ultimate End,” which starts with a cheeseball Bal Sagoth march and then employs heaving, demon-calliope whirlwinds of synths throughout. Tips the whole thing from pomp into poofery. Shame, ‘cause the rest of the track is one of the album’s speediest and most aggressive moments. Eternal Deformity make up for that lapse in taste with follow-up “The Sun” and the epic, Oriental-inflected closer “The Holy Decay,” both of which return to the balanced mix of goth/black and progressive. It’s more of their sweet spot, and it’s rich and compelling enough that they don’t need to resort to haunted carnival antics.

If you find the thought of Dimmu Borgir‘s Spiritual Black Dimensions mixed with Riverside‘s Rapid Eye Movement intriguing, then definitely check these guys out. My tolerance for overwrought symphonic black metal has paled over the years, but these guys harness that sound in a (mostly) balanced way, and the terrific vocals really tie everything together. A great surprise out of Poland, and a smart addition to Code 666’s diverse and innovative black metal roster.

Eternal Deformity excels at seamless transitions – take for example the albums first proper song, “The Force of Your Heart”, essentially a bombastic, symphonic black metal track that effortlessly moves into moodier territory and back again; the follow up track “Unholy Divine” that begins with MIkael Akerfeldt-like clean vocals over choppy rhythms then gradually transforms into a smooth melodic number with some superb solo work, or the album closing and album highlight “Lovelorn”, which moves from sorrowful to heavy and aggressive and back again, then into bouncy and victorious sounds. In contrast to this, “Crime” is all over the place, with abrupt changes from slower, somber clean vocal parts to frenetic, aggressive and growl-y, then two-thirds through, completely drops off and dives into pure circus music territory, complete with announcer and all. Then there’s their cover of Depeche Mode’s “Little 15”, an extremely moody track that they truly make their own – I’ve never heard the original, so take that for what you will. I will say though, that I wouldn’t have known any better if I hadn’t done some research, because it’s just another curveball in an album full of curveballs one after another.

Another aspect of the album I particularly enjoy is their attention to detail – the subtle flute (or similar instrument) flourishes in “Unholy Divine”; the female backing “ahhhs” in “So Silent”, or the way the circus elements are weaved into the mix in an atmospheric role in “Thor’s Message” – there are so many little things like this scattered throughout the album that it will take several attentive listens to catch them all.

I honestly have nothing bad to say about Frozen Circus – a near flawless execution, extreme variety, a wide range of sounds and instruments, a solid production, top notch musicianship and arrangements makes for an excellent release. I highly recommend this, especially for those who like things a little different.