PODCAST: Episode 113- Imperial Triumphant Discusses “Alphaville”

Ghost Cult recently caught up with Zachary Ilya Ezrin of Imperial Triumphant over Zoom ti discusses their new album Alphaville, which is due out July 31st, 2020 via Century Media. Zachary discussed the surprising global acclaim of Vile Luxury, the creation of the new album, how Zach – drummer Kenny Grohowski and bassist Steven Blanco approach composing, the theme of the new album, working with guests such as Tomas Haake (Meshuggah), Phlegeton (Wormed) on guest vocals, Yoshiko Ohara (ex-Bloody Panda) as part of the choirs, RK Halvorson as part of the Barbershop quartet, Sarai Chrzanowski as part of the choirs, Andromeda Anarchia (Folterkammer, Dark Matters) as part of the choirs, J Walter Hawke on the trombone, and Colin Marston on guitars, choosing the distinctive cover songs that close the album, opinions on other costumed groups such as KISS and Ghost, and what comes next for the band. Pre-order Alphaville here and check out our chat. Continue reading

Imperial Triumphant – Abyssal Gods



Unleashing the beasts of the deep, Imperial Triumphant can only be described as chaos incarnate. Having spent the past 10 years lurking in the underground of the New York black metal scene, their sophomore full-length album Abyssal Gods  rises through extreme label Code666.

Despite their recent venture out of being independent and onto signed album releases, a move only trialled with two EPs previously, there has been no compromise from older releases. This is still the ugly, hateful mass spitting repulsive murky riffs over packed drum lines in a hateful pulsating mass of sound. With no attempt to ease the listener into the album, opening track ‘From the Palaces of the Hive’ launches straight into double pounding drum lines and swirling guitars.

The key to their sound is contrast. Relentless tracks like ‘Opposing Holiness’ sits beside ‘Black Psychadelia’ that moves with a solid mid-paced groove. The album careers through 42 minutes of this insanity, still managing to constantly surprise as they break off into sections of brass or interlude with choir voices. The drums do fall into the trap of sounding over-produced at points on the album, perhaps a symptom of the double drum, but it’s easily forgiven when faced with the full gut-wrenching carnage that Abyssal Gods produces.

Such a dense, claustrophobic sound isn’t for the casual browser. While the album is not completely inaccessible, Imperial Triumphant have made an effort to make it as close as possible. Solid riffing and inhospitable noise struggle for dominance throughout making this an occasionally jolting and disjointed album but for the persistent listener, it has a lot to offer.



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