Tied to a Dying Animal

Having formed a good fifteen years ago as the solo project of Rory Heikkila, it’s only been recently that Shroud of Despondency became prolific with full length albums (having turned into a fully-fledged band around 2011-ish). This is the band’s fifth album, and it’s quite a meaty one at that, spanning two discs of varying material to keep things fresh. Double albums can go either way; they can captivate if the material is strong, or they can drag like a dog’s ass – luckily ‘Tied To A Dying Animal’ is an album which engages through variation and – most intriguingly – something different from the norm.

Disc one is named ‘For Innocence, Beauty, and Those Who Defile’, and is very much the ‘metal’ material. Stylistically, they’re hard to nail down under one sub-genre. They’re extreme, with quite a chunk of black metal to their sound, but also a sizable wedge of doom and death metal influences. Tracks such as ‘Clenched Jaw’ has some splendid Emperor-like passages, sweeping amongst the twisted soundscapes laid down by chugging Morbid Angel styled riffage. I can definitely detect Enslaved influences in their sound (not only the harsher rasping end of the vocals, but also the melodious leads and solo work which colour this release so vibrantly). I really get a kick out of their interesting riffage, it stands out and stands them apart as a separate entity from so many of their peers. The guitars weave effortlessly together, pouring with unpredictability and even ranging into the realms of progressiveness/technicality at times. It’s hard to second guess an album as different as this, channeling strangely eerie sections one moment, sweeping into bursts of speed and rage the next, powering forth with rangy dual guitar harmonies and barrels of talent to make for a fascinating listen.

Disc two is named ‘For Those Who Leave and Find Better Devils’, and is the neo-folk/acoustic portion of the release. This reminds me of early Tenhi at times, with sparse percussion, peaceful acoustic pieces and sporadic portions of male & female vocals all combining to create some serious forest-y atmospheres. Synth occasionally comes into play, keeping an eerie edge to ‘The Whore & The Politician’, with spooky Theremin appearing from time to time, wailing alongside the distorted guitar solos which sometimes seep through, patching over from the albums alter-ego ‘metal’ disc. I don’t think I have a preference to either disc, although I perhaps found myself returning to the ‘metal’ side more than the ‘neo-folk’ side, this was more to do with mood rather than quality of the material. Both work together really well, and although having to set around an hour & a half aside to listen to both back to back as presumably intended, it certainly works as a ‘whole’ if you can afford it the time.

Having read a recent statement from the band, it would seem that after a tumultuous recording session for this album, the band has now returned to being the solo project of Rory Heikkila, with a suggestion of more sparsely released material in the future. Hopefully this does not soon spell the end of this band, as they stand as an interesting landmark amongst the fields of so many pre-packed, plastic metal bands which we’re constantly fed on a revolving conveyor belt from the larger labels. Fingers crossed for their future – totally engaging!

Originally written for www.avenoctum.com

It’s been a long time since I've heard anything from Wisonsin’s Shroud of Despondency, so when I received this disc I was curious about and anticipating what I was going to hear. They are an interesting band, for being labelled black metal. While that may be true on older works, there is just so much more to this release and labeling it black metal just does not do it justice. Consider the fact that this is a 2 CD release with disc 1 being the really heavy stuff and disc to being more mellow and acoustic based. Something to the effect of how Opeth’s “Deliverance” and “Damnation” were originally supposed to be released. You’re definitely in for a surprise when you listen to this album and I can say that it will most definitely be a pleasant one.

Disc 1: For Innocence, Beauty, and Those Who Defile
Disc one, being the heavier disc starts off in a most awesome fashion with riffs reminiscent of Satyricon’s “Nemesis Divina” album. Rhythm wise, there is also a vibe that I would say is somewhere between Emperor’s “Wrath of the Tyrant” and “In the Nightside Eclipse” with more of a slower death metal type approach to the delivery. The riffs continue from there and have a really nice, older Darkthrone “Soulside Journey” feel to them. Some of you may not hear it right off the bat but if you listen close it is unmistakable.I know I mentioned Opeth earlier and will mention them again here as, during the midst of all this musical diversity, There is also a strong Opeth “My Arms, Your Hearse” thing happening here. These guys really throw everything into the melting pot. To me it seems to go back and forth. Black metal riffing with a death metal approach and death metal riffing with a black metal approach.

The band is quite interchangeable here and it really works awesomely with the given material. The solos are played with a pristine preciseness that seems to stand out from, yet blends very well with, all the other aspects of the music. The drumming isn't your typical black metal style drumming. Just as diverse as the guitar work, the drums vary in temp from slow to mid-paced in some parts to just absolute total annihilation in other parts. There are certain parts of these tracks and almost sound almost doom inspired. The drummer on this album is one of the best I have heard in this particular genre. Relentless and unwavering on every track. The vocal patterns here vary from the typical mid-range black metal style vocal all the way to low growling death metal type vocals. I just cannot get over the versatility on this first disc. They did an excellent job. Aside from the already mentioned influence, add to those: Marduk, Immortal, Morbid Angel, and Death. Now you have an understanding of why labeling this release a black metal release does not do it justice.

Disc 2: For Those Who Leave and Find Better Devils
The acoustic disc of this album is just as amazing as the heavier disc. Beginning with the fact that there is definitely a folkish influence right from the beginning. The opening track reminded me a lot of Anathema. Can’t really put my finger on it but that’s the band I immediately thought of upon the start of this disc. Also reminiscent of Ulver’s “Kveldssanger” as well as the October Falls “Marras” album, this 2nd disc is almost an ethereal concoction of sonic bliss. On top of all this, let’s throw a bit of Borknagar’s “Origin” release in there too. The keyboard playing here was just the right amount and played at the right level, nothing overwhelming or over-saturated. The added element of a violin in some parts was a nice addition that complimented the core elements very nicely. Not that the first disc didn't have a lot of thought going into it, but this acoustic disc is just unbelievable. Absolutely phenomenal in both construction and delivery.

As much as I loved the 1st disc, I think I love this second disc even more. There is just as much emotion in this disc as the other but coming from a different end of the spectrum. When you want to play or hear this type of music, it doesn't get much better than this. Combining both disc as 1 album was absolutely genius. These guys have a definite classic on their hands and they prove beyond a shadow of a doubt that they are just as good, if not better, than anyone else playing this type of music. If you like the above mentioned bands, I am not going to tell you that you need to get this, I am going to say that you must get this. An awesome listen from the 1st track of the 1st disc to the last track of the 2nd disc. These guys knocked it out of the park with this album!