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Monoliths drenched in Dimensional Mind-fucks - 93%

Tomb_of_Cunt, April 1st, 2013

A slow river of pain and desolation starts flowing as the first track takes off. The low-tuned guitar riffs have a double function: it creates an immediate atmosphere of darkness and it also constructs a general potentiality which caused me to listen intensively. The ringing effect that is created by the slow riffs is very unnerving and contributes to a general atmosphere of horror. After awhile the vocalist starts reciting some dark thoughts. His voice is brilliant and is well in league with the uncanny aura of the music. Some pieces of piano are also mixed with the music and fits in very well with the guitars.

As the first track dies off in silence, the chains of desolation is picked up once again as the harmonious voices of a church choir can be heard. Once again the guitars provide a brilliant atmosphere with low-tuned riffs. It doesn’t get any scarier than this as meditative chants of a choir of monks are also thrown into the mix along with the deep voice of the vocalist. Every now and then the music dies off just to be picked up again and devoured by the gaping wounds of the abyss. The guitarist switches from low-tuned riffs to a higher-pitched picking that also contributes very well to the general atmosphere. The meditative state that is constructed is so deep that it is very unsettling – it felt to me like I was falling backwards into a state of unconsciousness wherein I was forced to dwell within the jaws of a subconscious hell.

As the slow river of pain continues to flow steadily, the meditative state of the album is deconstructed and very suddenly reconstructed as a more trance-like ritualistic concept. The vocals become scarier by the minute. Certain elements of the music are altered and it can now be heard as a mixture of low-tuned guitar riffs along with some kind of snare drum and synth effects. The choirs die off every now and then just to be resurrected and forced to chew on the bitterness of the abysmal journey.

The album ends with a track titled “Alice”. Where the previous tracks were more straight-up drone doom, this track is much more experimental and dark ambient. Not only does this experimentation prove that the music is not stagnant, but it also finishes the album on a high note in the sense that the ritualistic state is now drenched in chaos. The wide variety of instruments on this one is very interesting with a wide variety of synth, trumpet, and something that almost sounds like a harp.

Overall, I can just say that this is one of the most creative and interesting drone doom albums that I’ve listened to and I can recommend this album to anybody who is into drone doom, dark ambient, experimental metal, and even people who like dark Gregorian music and who want to open themselves to more experimental alternatives.