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A timeless example of the doom metal art. - 98%

Stigmath, November 12th, 2012

"Let yourself focus on your pain, let it grow inside".

While the one gazes through the whitish fog that surrounds the lonely trees scattered along the green vale, the Omit chamber orchestra has already started dispersing the magic spell around.

It might be pretty painful to go through the whole album as a listener due to two points: first, it is over 90 minutes of sound expression, and second, those 90 minutes are filled with grief, pain and despair so much that not everyone will be strong enough to bravely say that he or she went through it (several times?) and understood the path quite well.

Starting from the end of the tracklist, the most extensive song “Insolence” , being a heartrending cry of hopelessness, presents probably the most beautiful delivery of the liquid sorrow in doom metal music I have ever listened to. The ambient part grows into the maniacal feeling of despair and the soloing violin is the only thread that connects you with reality, so deep the impression is. Step by step the compositional idea progresses, blessing the listener with the inner feeling of being drained. The final couplet perfectly finishes the whole steady paced narration, showing the ultimate disillusionment of the one’s world.

In terms of the traditional vocalic performance, the voice of Cecilie Langlie on this album may seem emotionless, bleak and monotonous to the one who does not pour into this melancholic music in-depth. Sorrow, despair and harrowing grief are painted here with so many various semitones that surprisingly the respect on the vocal work silently comes by itself as a totally apparent thing. The biggest probable evidence is the song "Constriction" with all the "highs" that Cecilie shows, resonating somewhere in between the dark thoughts and the visions of light.

The whole acoustic and electric guitar work, as one of the main cornerstones of doom metal, is performed in a very classic way as for the sound so for the composition, becoming my personal favourite side of the album. It is not very high-sounding, but a little bit clearer and louder than the droning background, seemingly picturing the naturalistic aspects of how the real distorted guitar in mournful doom metal should sound like. I must admit that it is one of the main driving forces the Omit ensemble owes to, but however, it allows creating such atmosphere only after being densely inter-knitted with vocal lines and with the work of the rest of orchestra. Such a captivating example of brilliant heavy, but subdued guitar riffing is presented in the song "Dissolve", where the rhythm section provides the solid ground to step on for the guitar based moving forward, leaded by the vocals, "following as if your eyes were open" . And, such schematics seem to matter because the Omit wins over such elements and their essential variety.

Melodically speaking, the most catching development is possessed by a song "Fatigue" , where the main lines are sung with such a breathtaking passion that the words such as "takes forever more summers to mend..." complement the exact feelings and stay remembered as if the song would be about yours truly (listener). Pretty intense beginning for starting point, but whenever holding the function of introducing song, the "Scars" bring the Omit orchestra to audition. The right well hidden move (even if not intended to be such), though if the listener as every doomed human being must be literally caged into something that will prevent him from switching off and hold in its embrace for at least the certain period of listening time, without giving an opportunity to the subjective perception to bloom; then the majestic world will blossom out. The "Scars" precisely set the tone of the whole album. They draw the door into the world of sadness, mournful mornings and inescapable desolation and open it before the listener. They dither the boundaries of imagination and aural perception, so similar the colours are to the world we know. Becoming almost shamanistic at the second half of its time-line, the “Scars” have everything ready to start your journey into the despond world of Omit.

Concluding the written, it must be said that “Repose” became a valuable jewel in the modern world of mournful music, particularly among the doom metal sub-world. Generally speaking, the Norwegians do not offer a new revelation to the genre, full of innovation and exploring the non-visual horizons, but they do present the essence of several decades’ long doom metal experience. They weave the perfect combination of emotions and feelings, finely fusing the key elements altogether and breathing life into it. The eclectic music of this band must stay out of time, be a timeless example of the doom metal art.