TIMŌRĀTUS / Weapons of Indignation
Religion is a tricky thing. As someone raised Southern Baptist, I was exposed to a lot of things that shaped me over time, but mostly in response to things that I disagreed with. It’s a dense subject though, and to relegate it to a paragraph or two of misgivings that I have and have had is unfair. Make no mistake: I’m thoroughly not Christian or for that matter, religious at all. It seems dubious that anyone would require a moral supervision to follow the path of decency, that you need the fear of magic sky man to keep you in check from giving in to your baser emotional desires. Still, if this is the thing that people find some joy or solace in, then it’s not for me to judge, so long as that religion isn’t imposed on anyone else or used as a mechanism to spread discrimination.
This is all to say that it was difficult for me to want to write about this record. By their own volition, TIMŌRĀTUS / Weapons of Indignation “is an ultimate effort to bring honor and glory to our savior Jesus Christ.” Typically that translates into the kind of music and/or message that I have no interest in, thinly veiled propaganda for an institution that I’ve rarely related to, although I concede that the parables of Jesus are largely positive, even if they aren’t my bag on a philosophical level. Such is the power of their music though, which is thoroughly brutal, an homage to Sunn O))) or Earth, heavy and visceral metal that emphasizes atmosphere and monolithic riffage to convey their general message. It’s a much darker place than you’d expect self-proclaimed Christian music to take, but sonically pleasing all the same.
A largely instrumental affair, save for a screeched black metal intoned chant at the end of the first track, the content of the music is largely up to you. In my head, this is a soundtrack to your nightmares, a symphony of despair and angst undercut by a bittersweet beauty. The combination of strings and guitar make for a comparably formal affair, and one that has a harmonic depth well above and beyond their musical contemporaries.
This may be an ideal exploration of separating the art from the artist, as it rests on its philosophical laurels more than on any criminal or real life trouble. Listen below and take or leave the religious aspects as you will.