Tenebrarum "El Vuelo de Las Almas" LP (Colombian DM 1994)
Review taken from Metal Archives:
Heavily influenced by the then emerging doom/death metal bands of the early 90's, Tenebrarum would manage to come up with a very interesting and innovative idea for their album debut: the band's mastermind and main composer David Rivera would add his violin as a main instrument; not just to 'add atmosphere', but as a fully functional instrument. Quite original for that time.
The harsh screams and growls alternate with high soprano notes in quite a few tracks like El Vuelo de las Almas, Sol Negro and Prisionera Gótica, but Aponte's deep and powerful voice dominates the whole album, a combination of doom/death pieces such as A Sangre y Fuego, Ilusa or the fasterEl Cristo.
The solid drum sound and the heavy guitar riffs are just two elements testifying the excellent work accomplished by producer Federico López (who would become one of the most skilled and sought after Metal producers in Colombia during the mid-early 90s; the echoing drum sound he achieved, with the potent snare drum and the solid kicks you can actually feel the fierce drumming inside your brain.
The male/female duet is trapped amidst blast beats and fast guitar riffs, with the violin leading the charge and the constant double-bass drums galloping until the full guitar attack comes to destroy your ears. This weird, yet effective, combination is best exemplified y the beauty and agony of the title track: The catchy riffs, so common in what is known as 'Ultra Metal', the brand of death/thrash/hardcore concoction created, developed and played in Medellin during the late 80's / early 90's, perfectly blend with the ceaseless cascade of notes from the violin leading the the song and a rain of demisemiquavers with blast beats and rapid bass notes, stopping in a staccato that switches once again to a fading attack of the whole band... No wonder this is a favorite on the band's live set list even today.
Lyrically speaking, it contains half dark poetry about death, marble tombs and white flowers forsaken in the ground and half unsung odes about the bloodbath of days long past that could be easily dedicated to the violent history of Colombia, dense and sombre as the music itself,