Register Forgot login?

© 2002-2019
Encyclopaedia Metallum

Best viewed
without Internet Explorer,
in 1280 x 960 resolution
or higher.

Privacy Policy

Culmination of Aäkon Këëtrëh - 95%

Duisterling, March 19th, 2009

I wanted to write this review for a long time, since I had already commented on both ‘Journey into the Depths of Night’ and ‘The Dark Winter’. He released one demo each year from 1995 to 1997 and each time, the total length of the release increased. ‘Dans la Forêt’, or ‘In the Forest’, is his second work and gives us 22 minutes of the odd, LLN styled dark ambient. I consider this to be his finest release; while ‘Journey into…’ was a travel that lead him to this successful forest of ambiances, his inspiration froze when the dark winter came in the following year (damn, his titles are oddly suitable for weird metaphors).

The guitar sound on this demo (and guitar is about all there is to Aäkon Këëtrëh) is the sound, to me, that symbolises what dark ambient in the vein of Les Légions Noires should sound like. It is slightly fuzzy, distorted, often disharmonic, off-key, with regular mistakes and sometimes it even sounds a bit random, but it truly is great. The songs, despite, or perhaps due to, their short length, are all very original. Compared to one another, they don’t share any elements with each other except for the atmosphere they create, which remains about the same through the entire demo. No boredom due to repetitiveness here, it is actually very entertaining.

When it comes to the obvious screw-up’s: I have said it before when speaking about various albums, and it applies here as well: atmosphere is not seldom created by the presence of clear and grand flaws. ‘Dans La Forêt’ remains one of the best examples I know to prove that statement. It is comparable to the way we are attracted to the ruins of old buildings. Those silent remains, witnesses of old, are actually crappy, dangerous buildings, nothing more than one big flaw, but they touch us way more and way deeper than any new built house could ever do.

I wouldn’t be surprised at all if the mistakes were incorporated somewhat on purpose. Despite the simplicity of several melodies and the use of only one instrument, the Lord shows great musical understanding in other melodies. The best examples of his musical insight are the tracks where he recorded two guitars parts (I can imagine how fucked up that must have been with probably nothing more than a single mic and a crappy tape recorder), layering and supporting each other brilliantly. He probably understood that the elements that seem like flaws from a technical point of view, actually create more atmosphere and authenticity.

There isn’t much more I can say on this. It is sheer, eerie brilliance in its own unique way. It is one of the most obscure and weird soundscapes I know. The atmospheres invoked by this lonesome guitar are among the greatest I’ve heard. If there was a machine that could turn pure emotions into music, this would pop out if you’d put in the right mixture of depression and melancholia. This gets a 95% rating because it is so unique. It is unique compared to the rest of LLN, but also unique compared to any other act out there. How it could be better or worse is therefore almost impossible to say. It is what it is, and it is good at it. Striking as hell; highly recommended.