Pas.to.rale

After spending the better part of five years focusing on the experimental black metal project Blliigghhtted and the multidimensional, shape-shifting, and increasingly controversial creative outlet Viranesir, Emir Toğrul seems to be returning to his roots with the fifth Yayla full length, Pas.to.rale. Yayla has been known for striking an equilibrium between ambient passages and monolithic black metal, and, while Pas.to.rale continues in that vein, it would seem the constant tinkering and experimentation with his other projects has brought a more full bodied, balanced sound.

This experimentation presents itself in the structuring of the songs, as nothing is presented in a linear fashion. Much like previous albums, the buzzing, trance-inducing tremolo riffing is still present, yet it's presented in a way that's less monolithic. Perhaps it's the rambunctious percussion that constantly shifts or the way that the riffs transition from sweeping trems into cyclical patterns resembling drone, it's clear that Pas.to.rale shows Toğrul furthering the band's sound while retaining its signature. Despite the shift, Pas.to.rale presents itself as a rather dark and mystical ambient black metal album, checking off the hallmarks of the style.

Beginning with the heaviest hitting, and longest, track of the album, “Altars in Sewer Temples”, discordant growls, ominous rumbling bass and frenetic percussion make way for distorted trem riffing, growing in stature until collapsing under its own weight. Tendrils of airy synths break free, as the rest of the instruments take a back seat. This pattern reemerges several times throughout the album, offering this interplay between stark black metal and synth driven, ambient passages which border on dungeon synth in a few spots. It's rather trance-inducing at times, as the din of the black metal and the lull of the synths merge seamlessly evoking an almost mystical feel.

Mesmerizing and buzzing guitars notes reverberate through cyclical patterns of murk on “Endless Regrets” while a chaotic beat backs the soothing synths of “Pandora”. In spite of all of the colliding elements and nuanced movements, Pas.to.rale is an album that is immediately accessible, though repeated listens do unveil hidden intricacies. While the albums does seem to lean more towards sweeping passages of black metal, clouds of ritualistic ambient often move in, like the sparse electronic flitting and percussion amid single struck synth notes on “Rats” and the mesmerizing synth string tones of “They Are Losing You from Me” that closes out the album. It's quite clear that Pas.to.rale is not going to be for everyone, but those looking for ambient black metal that is chaotic and mesmeric should give this a try.

Finally coming back to form, Turkish ambient black metallers Yayla are joining the continued and expanding ranks of work from mastermind Emir Toğrul as he continues to explore the psychotic madness with yet another one of his solo efforts. Abandoning the approach of the bands’ original works with the five-year layoff, the bands’ return effort and fifth overall was originally released February 5, 2017 on Merdümgiriz Records.

Much like with the vast majority of the bands’ previous efforts, the overwhelming sense of this one is still right up-front with the overbearing ambient elements. Fueled by the dark, desolate guitars droning on endlessly throughout the soundscape here alongside the rampaging drum-work that’s utterly nightmarish, there’s such a strong and overall impactful amount of churning tremolo rhythms to drive this one along rather nicely. This atmospheric black metal-laced background is complimented nicely by the ever-present synths that adds a further dimension to the work throughout here, generating the kind of atmospheric evocations of madness typified by the droning riff-work as well as providing the melodic outlines for the stylish interludes that break up the aural assault featured elsewhere. It’s a strong and dynamic approach that results in finely-crafted, unrelenting assaults of melodic turmoil and madness with outbursts of furious black metal energies, and that serves this one well for the most part while pointing out one minor aspect of this that is a minor drawback. The album’s insistence on providing as many interludes as it does here is enough to interrupt the flow of the album’s descent into madness that was so engaging and coordinated that it feels somewhat like another band broke into the recording and placed them there as they’re stylistically out-of-place with the slower relaxing moods in place of the charging aggression and ambient workouts that were so proficient. Still, that’s not nearly enough to worry too much about this one.

Managing to work out quite a solid and impressive series of elements together with plenty of enjoyable features, this is an extremely strong and dynamic offering that continues to offer up Emir as one of the finest musicians in extreme metal and makes this a worthwhile offering for any fan of his other acts, the genre as a whole or the band’s past efforts.