Rosetta - A Determinism of Morality Release Date: May 25, 2010
Record Label: Translation Loss Records
On their third full-length, A Determinism of Morality, Rosetta shoot for transcendence and nail it. Every aspect of the album points to something inexplicably grand - some colossal philosophical concept, perhaps about God or the lack thereof. Then again, you wouldn’t expect anything less from an album that wields 7 rounds of lavishly titled tracks, 3 of which are seemingly done with spiritual cleansing in mind (“Release,” “Revolve” and “Renew”). And with a name like A Determinism of Morality, ambitious subject matter is pretty much required.
So it’s no surprise that the music reflects that high-flown atmosphere. It switches deftly between the filthy sludge of Cult of Luna and the airy shimmer of stereotypical post-rock, giving the album an impression of dexterity. “Ayil” is a heavy opener, bubbling uncontrollably with baritone roars and marvelous drumming. Like the rest of the album, it prefers consistent viciousness over swift kicks to the face, making it seem all the more massive. The trio of “R” songs takes that template and adds melodic edge, while “Blue Day For Croatoa” showcases gentle, vocal-less guitar play. But Rosetta’s ruthless side and nomadic post-rock side converge in “Je N'en Connais Pas La Fin” and ten-minute closer “A Determinism of Morality,” both of which are hybrid works of masterpiece.
It takes a lot to be Rosetta these days. You have to flaunt brutality and defy genre norms at the same time, which is why few bands are on their level anymore. It used to be that Rosetta was just one of those acts, but this album enforces their position as scene gods. It’s all thanks to moments like the closing minute of “A Determinism of Morality,” where savage growls strain for all they’re worth. Then the music stops, the musicians flick their sweat off to the side, and get ready to do it all over again. A Determinism of Morality is one small step for metal; one giant leap for Rosetta.