Poison

Many art theorists and critics see the romantic era as just another era in the history of aesthetics, but I beg to differ. The philosophical idea, on which the fundamental principles of romantic art are based, is the idea that imagination is higher than reason. This idea might sound simple and irrational, but it is much more complex than we can ever imagine and as far as irrationality goes – in the darkest corners of the irrational, you will find the rational. From the first moment that I listened to this album, I could immediately sense the strong romantic aura and see the dark wanderer of a desolated human soul wandering in a dark forest.

The general atmosphere of this album is brilliant. The best word to describe this atmosphere would be “grim”. It is certainly grim – it is a journey that takes you into the obscure spheres of introspective moments, stream of consciousness and existential trauma. Keyboards and synthetic effects are constantly used with the most amazing results. The beautiful way in which the guitar riffs are integrated with these atmospheric synthesizing, is really the work of a true master. The vocals are very interesting – it sounds quite the same on every track, but it is certainly not dull. Every few moments I experienced the synergetic functioning of all the instruments.

The drums are also unique, since it creates a very atmospheric and ceremonial sound and it maintains this sound without becoming dull. Furthermore, the synthesizing creates rich melodies that might sound slightly familiar to other ambient and atmospheric black metal melodies, but still has a unique character that implements a sound of the utmost complexity.

One of the most impressive moments of this album, is the lunatic moments on “No quarter at the Somme”. The atmospheric keyboards and drums on this track is really something that sweeps me off my feet. I call it “lunatic moments”, since it reminds me of a kind of lunatic atmosphere in which the highest forms of irrational thoughts manifest as acts in which the individual pours the rawest, darkest and most barbaric side of his animus. In a psychological way, the animus and anima then blends together in a whirlwind kind of way and pours the individual into a bottomless pit of the unconscious mind.

Although frontman S. Holliman writes lyrics for the songs, it mostly sounds as if he is not uttering any words. Instead, he mostly screams and growls his way through madness and trauma. That is very impressive, since he is not scared to honestly express himself through any means possible. Here is a man who, like Nattramn from Silencer, is very strongly connected to the aesthetic side of his dark side.

Overall, this album contains an amazing atmosphere of aesthetic brilliance and I don’t think that this album is just suitable for fans of depressive black metal, but also to some fans of dark wave music.