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Gazing Light Eternity's beauty - 100%

Spider_X, July 17th, 2017
Written based on this version: 2017, Cassette, Fólkvangr Records (Limited edition)

Only just a couple of month's ago, did I hear about Chiral. It was the Winter Eternal demo that I had heard, that made me fall in love with Matteo's music. Gazing Light Eternity was what came next, and I was astounded as to just how beautiful the music was, that I was listening to! The album in itself upon listening is almost like a very beautiful crystal, and very fragile. What I mean by this, is that all the sounds contained within the album is what makes up the beauty (that would be the crystal), but the sounds are so beautiful within that they feel as fragile as glass if it were even possible to drop and break them. How the album starts off attributes to what the entire album will feel like, beautiful, shattering crystals.

So many waves of unique sounds helps in to making this album very beautiful to listen to. There are a few key points that I would like to mention, however. At the very start, you hear the soft sound of purling chimes. Matteo is a very exceptional keyboardist. There is a certain sound that he does that starts at (10:55) into "Part 1 (The Gazer)" that carries itself through into "Part III (The Crown)". Even though the sound changes throughout the tracks, it is very beautiful to hear the variance. Then, there's this one part within that same song, which starts at (06:16), where his voice is what I think is honestly rarely heard in most black metal bands, and that's a very calming, melting voice. Only two other artists that I know that can sing like this, and that is Rafn, of Hermóðr and Ben Stire, of Hyperborean Skies. Matteo has his own style, and it excels in absolute beauty!

I love how you can also hear the warm sound of a crackling campfire, and then you can also hear the sounds of a very beautiful running stream. There is also something else I find unique, and maybe it's more because I'm reminded of what I love so much, but there are parts in "Part IV (The Hourglass)" that remind me of the cry of whales. I know this is not what this is, but yet I am very strongly reminded of whales! The distinctive style that Matteo uses for playing the guitar heavily distorted is very emotionally moving. I can honestly say that I've never heard anyone play the guitar and have such a strong aftereffect!

Even though Chiral's original recording was just four tracks, what some thought was 'incomplete', really wasn't. But, to add what feels to me an alternate ending, brings Gazing Light Eternity to a much more profound close. "But I’ll stand there and wait ALONE." These are the last words spoken in Gazing Light Eternity.

This Light Shines Bright - 90%

STORMM, November 17th, 2016
Written based on this version: 2016, CD, Independent (Limited edition)

Italy‘s Chiral are a band that dropped onto my radar a number of years ago and with the release of ‘Night Sky‘ they made me and many others sit up and take notice, even earning the attention of Pest Productions for a second press and deservedly so. Earlier this year the ‘Snow/Heritage‘ EP was released, containing an excellent Women is the Earth cover and some wonderful acoustic pieces, mastermind Teo proved ‘Night Sky‘ was no one trick pony.

‘Gazing Light Eternity‘ is the band’s latest release and this time comprises of four tracks or parts for that matter. The album is built around two long atmospheric tracks ‘The Gazer’ and ‘The Crown’, each followed by the two ambient instrumentals ‘The Haze‘ and ‘The Hourglass’. Upon first listen I found this to be a darker sounding album than the previous mentioned ‘Night Sky’. The two longer metal tracks on offer are atmospheric black metal and very memorable at that. The simple melodies and tremolo riff work stay with the listener long after the album has finished and in some places reminded me of early Burzum, while maintaining that same lasting effect Varg was so good at.

The album opens with ‘The Gazer’ which has a trance like melody running throughout and some excellent keyboard work in the background not forgetting the obscure and haunting sounding melody that appears around the 9 minute mark. ‘The Crown’ is the second of these metallic tracks and is a much slower piece and full of melancholy. Once it begins you will be greeted with a mournful keyboard melody which would not be out of place on a Lustre album. As the track progresses you will also be graced with some orthodox like chanted vocals in the background which combined with the keys make for quite an atmosphere, again trance indulging. I have listened to the album numerous times now and every time I always seem to find something new that I missed previously which is never a bad thing in my opinion.

The two ambient tracks are also beautifully crafted with ‘The Haze’ containing some spoken parts (maybe taken from a movie?) as well as tranquil acoustic work, very calming and relaxing in nature while closer ‘The Hourglass‘, again keyboard driven, has some nice field recordings such as rainfall and the sound of a gentle stream, the calm after the storm one could say.

Chiral have once again created a wonderful release, the album has a spectral like atmosphere going on probably down to some of the haunting melodies Teo has crafted, but not in a depressive or bleak nature, more obscure if that makes sense. With its hypnotic and trance like grasp the album seems to pass by much quicker than its 40 plus minute playtime and flows perfectly. This just might topple ‘Night Sky’ as my favourite Chiral release but at the same time it is quite a different beast altogether. Decisions, decisions…

Originally written for a the Somber Lane blogspot

This light is shining for eternity - 82%

slayrrr666, November 7th, 2016
Written based on this version: 2016, Digital, Independent (Bandcamp)

Having adopted their new-found style, one-man Italian atmospheric/post-black metallers Chiral have settled into quite a groove with their switchover to this style after their initial formation as a black/doom project as this allows the band to incorporate more folk influences into the raw black metal. A concept album about the evolution and perception of the perpetual flow of time on men, places and memories, the second full-length album was originally self-released October 27, 2016.

As is to be expected with bands that employ this particular style, the main inference here is on the bands’ atmospheric black metal standings, which are placed at the forefront of the music in grand fashion. Centered upon swirling, highly-melodic tremolo patterns at a constant, repetitive style that sweeps along through the music in here which results in numerous passages of extended rhythms circling around the same central pattern from these arrangements interspersed with instances of fine keyboards and blistering, straightforward drumming that packs a great deal of rumbling double-bass motifs into the music. This ends up replicating the wholesale naturalistic vibe presented throughout that’s commonly associated with this particular subgenre of atmospheric black metal, and with the light ambient interludes placed along the way that bring about plenty of even more melodic intersections with this one managing to gain quite an invaluable degree of slow-burning simplistic rhythms that draw upon their exchanges of atmospheric works to give this quite an impressive outing from the start. At only four tracks, though, there’s bound to be a feeling of incompleteness to the effort as this one really seems to go for a series of the extended swirling rhythms for long periods of time with only a few chances to add to that due to the short running time. It’s really only the main thing wrong with this one otherwise.

Being just a touch too short for it’s own good, that’s the only real flaw for this album as the main factors for it being quite enjoyable and entertaining are much more prominent here which really propels this one quite nicely for fans of droning atmospheric black metal or fans of his past works.