It was September 2003, when I saw this band live for the very first time at IIT-D prelims. Before they started playing, a pal of mine (who already knew their style) whispered in my ear these guys cover ‘Children of Bodom’, the moment I heard that I jumped out of my seat, and went charging next to the stage to head bang to their amateurish cover of ‘Bed of razors’. Although that performance was quite feeble, but I got hooked onto them, trusting the promise they showed The subsequent release of ‘Soul Corrosion’ EP was widely appreciated and got a thumping review in first Metalindia print issue. However, that EP left few questions unanswered, 1-Why such a shabby recording? Secondly, Can Acrid come out of thick realm of COB, with something more concrete, forceful, true and original?

Let me find how ‘From the oblivion’ performs? Starting off, no complaints with doomish cover artwork, inlay, and print; it looks totally absorbed with delivery of an oncoming dark crusade. Scandinavian melodic death metal shades are very imminent from your amps right from start to finish. Although I would have definitely liked a much more thrash and freaky guitar tone. Probably, that’s the reason why aggression seems controlled. Instrument production is crystal clear, although disappointingly vocals are a little low on recording. Another matter of huge concern is Anubhav’s vocals are shallow, fluctuating and non-caressing in delivery. This looks like a serious issue, because I used to think that this might just be an anomaly while he’s on stage. But in studio also he sounds shaky. Riffs are pitched in between COB/Stratoivarius/In flames.’ From the oblivion’ (Track 1) opens a progressive hard-hitting melodic DM fascia. The song infuses alternating rhythm-lead guitar work that walks on for ages over you. Keyboard also cadavers through the composition providing a knitting action. Track 2 ‘A perfect pseudocrity’gains respect mid way after initial 2 minutes 45 seconds, when they lie it down slowly, then explode and dive down deep into haunting melodies. This one definitely has a unique fragile effect.’Mindwarp 2’is an instrumental that plays next and honestly speaking this and its next rendition ‘mindwarp 1’ are an utterly baffling inclusion on the record, in terms of their positioning and sense. I don’t know when the band was riding a certain momentum, why break it just for the sake of it. They are indeed a very ordinary, no thought provoking misfit. Can’t write much about it, as I completely dislike it. ‘Genesis 18:05’ plays next; it’s the first song on the record that shows headcharge, thought and conviction in composition. Listening to this one is shear bliss. Let me just pen down some ponderable lyrics from the song ‘Genesis, is all I need, lets start off again, there is no other way for you, Genesis, just die again’, thumping base drum and bass along with enthroned depth of pain spills out of this one, central section is head moving around 2.20mins and later riff lead juices skid out from Kshitish and Vikas’s axes. This song climbs to its apex at 4th minute, when anubhav sings ‘Die! You now, you live this life for long! A mountaineering echo of keys and riffs are a lift that supplement its climb up the hill. A roar what an end!!!’Acrid arts’ is song no 5 its another spell bounder in terms of its musical arrangement. There are around 3 phase shifts in first minute itself, vikas ferociously churns through very nook and corner of the guitar. Complete focus is once again instrument playing. What a revolving revoking joyride. Some stupendous chorus and knifely riff criss cross. ‘Running for eternity’is just a show window of a typical ‘Inflames’ song. Here it leaps up and down in a cage, the cage referred here is an ‘In flames’ approach, Chorus on this one reminds of quite a few from Clayman album. Had they moved forward from a very colonial ‘Reroute to remain’ style to recently released ‘come clarity’ it would have made a remarkable difference. The next one is another pick for me ‘The descerator’ riding an intermediate pace its got relatively faster parts as well, quite an orthodox kind of song for a band like Acrid, nonetheless refreshing after a couple of ordinary songs. One of a typical head bangers choice! Hear it to believe it! OAAAAAH! Here comes ‘Burning the ashes’ final track on the album and I must say what a finale, that’s the fashion in which I always wanted them to compose. A misty filth of keyboard smog in the air, smoking up the whole place, over the rooftop vocals propagating what’s always expected from them. Solos flowing left right center, triplets on base drums, reversing-forwarding in and out riff segments. Midway when music breaks and it starts pouring in the background it makes my hair stand back on the back of my neck, and when vikas solos it out of that scene, it makes it so phenomenal that I don’t have words for my ecstasy.

Enough said, result time-‘From the oblivion’ is a benchmark in terms of creativity, but as a final product, it has its own set of problems that are mentioned in the above-mentioned review. Pillars have been moved, with few stones unturned.