Vigilia

His gimmick might be traipsing around the country in a red hooded outfit and praying to his deity of choice - just in case the deer hunters still let fly at him - but there's no denying that Cosmic Church man Luxixul Sumering Auter (say what?!) sure knows how to lead his flock of followers in icy yet melodic streamlined black metal worship. "Vigilia" is a lush and bright 4-parter of solid atmospheric BM, strong on rousing rhythms, very solid bass work and sometimes ominously dark moods.

"Vigilia I" is a bright layered piece of shoegaze shimmer, stern bass drone, dramatic tremolo riffing, booming drums and crashing cymbals, and impassioned vocals spilling with anguish and terror. The mood darkens as the song goes to the point where it almost overflows with sheer dread and listeners are in awe of the huge dark shadows looming in the song's background. "Vigilia II" at first seems more typically BM in speed and style, all urgent powerhouse drumming, raspy distant ghost howling and constant guitar scrabbling but after its first 5 or 6 minutes it becomes a much more passionate and heart-rending track expressing deep sorrow and fiery anger in turns. This is a very busy track too, full of one surprise riff after another, one rousing melody after another, and whatever other eye-openers and ear-openers LSA has up those red sleeves of his. He certainly has an ear for dramatic swooning music capable of slaying hordes in the aisles with heavy swooping scything atmospheres and key changes that intensify the music's dark and darkening moods.

Like its predecessor, "Vigilia III" takes some time to really hit its stride but when it does, thanks in part to a counterpoint melody, it's as complex in mood and structure as its forerunners. By this point the thin guitar sound is becoming something of a hindrance as the music would really benefit from a powerful bass kick and a truly savage guitar battery. Perhaps this is why on all tracks LSA has to use synth backing to put more meat and muscle on them. "Vigilia IV" starts with a strong surging riff loop to knock its listeners sideways and then piles on the layered guitars-n-drums battery. Heard loudly, there's a swanky, almost desert Mexican / Latin-American feel in parts.

It might not be the most original recording - a lot of it reminds me of Vitsaus and similar Finnish bands I've heard - and for all the epic powerhouse drama and swelling ambience, there's still something a bit too restrained about the music and listeners may get the feeling that LSA is still holding a lot back emotionally. There's probably too much chopping and changing throughout each track, and filling up the music with so many new riffs right up to the end of each track. But when the booming, droning synth gets going, like a satanic church organ announcing the final dark ritual is about to begin, and the heavy curtain of dark atmosphere descends, any niggling criticism gets swept aside and you're in thrall to this monument to darkness and satanic worship.