Effigies and Epitaphs

Ethereal ... or should it be described as a certain type of mysticism with which the release opens? What is it? The rest appears bereft of it, why is it there, then? Should we feel engulfed in a something that is only allowed to persist as an illusion, a short flicker, a vague impression? Or is it something to retain in the back of the head, where it may linger and work as something to put matters into a proper perspective?

In style and concept "Effigies and Epitaphs" follows up from where the previous one had left off or rather how the previous one had been set up. There is either the hurrah blasts of intense atmospheric black metal and then there are calm acoustic counterpoints. Either of these are the same and either of these are different. When it comes to this release, more in terms of clarity and versatility is what has to be acknowledged. Would someone go as far as pointing towards the previous output as (artificially) limited, then this album had be recognized as a clear progression and a clear step towards some kind of established style. In a few words, the music would be more of the same but still somewhat different; or different enough to stand alone and on its own.

What has changed and how does it fare compared with the Dryad release?

Unmistakably, this band has a style and concept they like to express and which they have established to a considerable degree. Each of the tracks breathes this idea, lives it and comes over as being entirely comfortable with it. Be it either the blasts or the calm counterpoints, they are well crafted and appear with the proper production to provide them the sound and intensity they need. Luckily, the muddiness of the previous release has been cast aside for a different level of clarity in the expression. With a larger focus of crafting manifold approaches in terms of arrangements, this output has less of the extreme contrasts with Dryad had to deal with or rather how this had a negative impact on how it is perceived. It is still extreme in its own merit, but should not be limited to this.

Yes, extreme. The wall of guitars, the thundering of the drums, the shrieking of the vocals create together an intense brew of black metal. Add to this a level of consistency with which they present this, then it should be clear on what to expect. The main setting and direction do never experience some kind of diversion. The band focusses on their concept and only enriches it through the recognition that moments of calmness only result in a larger impact on the listener, once the band is ready to throw something at them again. Indeed. Effigies and Epitaphs reeks with contemplative imperatives. It demands the metaphorical imperative, even though it is difficult in actually experiencing the expression. This has remained, despite all this additional level in clarity.

Depressive? Hardly. Dark? Certainly. Sinister. Well, to some degree. It is vicious to some extent. It really pushes you along. It is daring. At times it is really cool.

... but still ...

Could it be the overall limitation in terms of the approach? Could it be the inability of the band to create some kind of proper middle ground between the different types of approaches that they present on this release that is the reason on why it feels slightly off at times? What is it? Somehow this aspect could also have been discovered on the previous release. It fails to stick or rather it fails to really leave an impression, as the band avoided a clear cut separation of facets in the first place. Despite being not muddy in sound or expression, the band is also not delivering it all in such a way as to create a convincing lasting impression. It tugs you along, but in the end you would ask yourself why you had done so and what made you do this at all. This might be the reason you return to this release. To find a definite answer on why to not enjoy it.

This debut release includes the album "Epitaphs and Effigies" proper plus the "Dryad" EP. The main glory of this set is the acoustic music included in what would otherwise be a relentless and furious solid black metal assault on the ears. The black metal is frenzied and hyper-speedy, the vocals are just barely audible and the drumming is usually programmed but there may be emphasis on cymbal percussion. In most tracks, the major part of the music is black metal which is usually cut in two unequal halves by a passage of acoustic guitar (occasionally piano). The album's theme is one of lament for nature, trashed by thoughtless human activity.

After a short introductory track of multi-tracked female vocals, it's straight into the "Epitaphs ..." disc with roaring guitars, a pummelling beat and harsh, angry vocals. The record builds up and up until we reach "Of Grandest Majesties" which is a mighty stirring piece with a galloping bluesy rhythm and occasional sparkling lead guitar. A short flamenco guitar piece is this track's main highlight. On we go until "Seared, Sundered", a blast of fury and deranged guitar-shredding chaos as the music rages at the razing of forest and the flight of animals and plants as humans take over nature and cover it with suffocating concrete. The final piece "Beneath Highway and Street" is a complex beast of anger, melancholy and sorrow: the sonic devil is in the tiny details that can easily be missed beneath the slab of guitars and speeding rhythms - soft ambient touches can be heard on occasions. Towards the end, a piano-dominated acoustic section suggests hope and promise of co-existence between humans and nature.

On the "Dryad" EP, the best track is "Gamma Leonis", a grand and, for Petrychor, a sedate piece with piano, synthesised cymbals and a shrill trilling guitar included in the body of music. This is followed by an all-acoustic piece of mandolin and droning background atmosphere: a beautiful combination of fragile melody and an unseen powerful and brooding presence.

It's worthwhile also to hear the ambient companion recording "Artistry of Exhaustion II" at carbonscape.bandcamp.com - I don't know why Petrychor didn't see fit to include the two tracks here on the "Epitaphs ..." set and make the whole album a double album. The first piece "When Autumn Comes I'd Like to Die" is a sharp sculptured piece of falling-water background, suggesting constant rain or a waterfall, shimmering piano, ghostly female vocals and various effects that cut into and shape the sounds. It is a lush immersive piece and I can feel myself falling into this lovely and serene world where peace and soothing water dominate. Later the soothing sounds turn into huge cutting / crushing rocks - as Petrychor advises, this music has to be heard at full volume. I consider it would be worthwhile repackaging "Artistry ..." as part of "Epitaphs ..." when that album is reprinted or re-released on another label on the strength of this track alone. "Black in Deep Red" is a lesser creature, more sinister in its constant rumble of alien voices, the choppy wind sighs and the scraping noises; less seems to be done with the music here, it simply gets louder and the synthesised tones waft back and forth.

On the evidence of the double set and the digital recording, I see a lot of talent and promise for Petrychor's future. It's very likely Tad Piecka will include more musical styles in Petrychor's basic black metal to the extent that the act might go far beyond its black metal origins.

Originally posted on my reviews-blog at www.heavymetalspotlight.com

Petrychor seem to be one of those bands which, despite being thoroughly underground, are being disproportionately well recieved in metal communities, and by others. The band's style is hard to fathom, however, the band's website describes their sound as "Black metal laced with folk, avant-garde classical, and other musical interests." which sums it up far more thoroughly than I possibly could. "Effigies and Epitaphs" is the band's first full length album.

There's something very inventive about the entire album, and the music has a very unique twist. Most of the songs have woven into them some extremely competent acoustic playing, in a variety of styles, from a fairly traditional style, to folky, fingerstyle-type work which adds to the project's uniqueness. On the other side of the coin, the heavy elements of the music are also intriguing. While on paper, the music produced - blastbeats, and other heavy drumming styles, shrieking, and other techniques associated with black metal would, theoretically, be extremely heavy and raw, what results is, in-fact, an immersing wall of music which gives a melancholy, explorable, and uniquely evocative soundscape in which the listener can roam. While many atmospheric black-metal bands do this, Petrychor has an unique character, inviting the listener to explore a wilderness ravaged and broken by mankind, and lament.

Compared to the bands which bear any similarity which I've heard previously, Petrychor are much more murky in this release, with a powerful, almost booming undercurrent, with lead guitar and vocals flowing beautifully over the top of what is, frankly, everything else. in this murky undercurrent, many sounds are present, but exist not as much independently, more as a blend, dependant on each other, but bearing no one resemblance. What first appeared to me to be weak production is, in fact, part of the atmosphere. Everything sounds to me to be as it was intended within the record, and with this record, "everything" is a pretty massive term - the album has a lot going on in it.

Overall, this is a fascinating album, and one which has all the potential to become a cult-classic. While not mainstream black-metal, by anyone's standards, this is still a widely acclaimed release, and listening to it, after a while, about a month of it slowly growing on me, I thoroughly enjoy it.