Label: Little Somebody Records Band: Pensive Ceremony Origin: USA
PensiveCeremony is the solo project of Pythagumus. This gentleman seems to be the centre of a local scene with his own recording den, named The Hidden Thicket. He’s been involved in various own projects and this is one of them. The locale I mention is Washington state, in the town of Tacoma.
Pensive Ceremony is an acoustic drone project, rooted in the dark of nature. Dark pictures of animal bones decorate the facebook page and the artwork is also simple, but symbolic. It’s not a foreboding darkness though, it’s one of piece and silence (apart from the droning that is) where one can find a special sense of calm.
The opening tones of the album remind me so much of the legendary BBC series Robin Hood, where Clanned made the soundtrack of. The drone always appeared with Herne The Hunter to illustrate the radiant force of nature. This is exactly the initial response I feel to the music of Pensive Ceremony. It’s also that sound, that fills my ears and attention when I listen to opener ‘Dawn’. The track has a few little breaks with chiming bells and calm guitar play, both very peaceful and calming. It’s the sound of closing your eyes, while sitting on a tree trunk in the forest.
‘Hollowed’ is another endless drone, passing you by like its ambient sounds of the wind and a constant humming in the fields. It’s not the actual sounds, but the way I feel when I perceive the sounds of the music. It is highly evocative of images. It’s an embrace of the nature that surrounds us, it brings us closer because it allow sus to open all perceptivity to that which is offered. It’s really minimalist and whatever is happening receives maximum focus of the listener.
Why not put this on your iPod or other mobile audio device. Go to a park, sit down and let nature embrace you.
On a saturday night it’s a good moment to head to the Little Devil in Tilburg for a drink and some pitch black metal, because it’s time for the second edition of Little Devil Black Ritual.
The festival took place last year as well and it is a two day event, but it’s well worth checking out some of the bands hailing from the deep underground of the Dutch black metal scene. Opener today was Asgrauw, who I missed. Luckily I entered in time to catch the best named band ever: Dood.
Little Devil Black Ritual is not a creamy, popular black metal bands festival, but manages to dig our gems from the underground that are hard to catch live or sometimes just barely known. It’s not for those who ‘listened to Mayhem…once’, but for people who love the darker sound. Though rather conservative in outlook, I’ve enjoyed my stay here and would recommend it to any who are into this music.
Dood
Dood means death in Dutch and the band is remarkably young with only having existed for a good 5 years. They did release two albums and embrace every element we have come to ascribe to the black metal style. Though their sound is not something to brag about, their masked vocalist does add a certain je ne sais quoi to the performance. There are some technical issues with the keys, but they’re buried deep in the walls of guitar work.
Though I can enjoy their performance, there’s something about them that is just too easy. Like their name, the choices the band makes for their whole expression are somewhat predictable and middle of the road as far as black metal goes. It’s not very exciting for those who like to push further. That’s alright though, the foundation of any genre is the dedicated few holding the fort. It gives credence to the existence.
Orewoet
Orewoet seems to deviate a little from that. Named after a dutch romantic novel by the writer Emy Koopman (it seems, I have no conclusive evidence), the group has only just released their first offering titled ‘Afrodisiacum Der Vroomheid’ on Heidens Hart Records. The group has plenty of experience on the stage, having played in bands like Ehtraid Engrin, Gestalte and Weltschmerz. The controlled and measured way in which the performance is delivered and the great delivery are witnesses of the experience this band brings.
Their overall sound is rather oldschool, without much pretense or progressive elements to it. That mentality they also bring to the stage, no bullshit with this group! Orewoet delivers their furious music as it should be done. Musically they fit in with the more conservative Finnish sound methinks. Great band, who I’d like to hear more of.
Hekel
Though I have to admit to liking their name, the band Hekel is not something that really attracts me. Though I can submerge myself in their hypnotic, ritualistic sound in album form, it can be rather dull live. There’s the act, the mystery and the performance, all in place, but after the energy of Orewoet it simply does not hold up much for me. Good material, also their EP on Heidens Hart was enjoyable, but live a rather static affair.
You have to appreciate the amount of ambiance they bring with the looks and items gathered. This band has been active for 23 years and truly does have that oldschool sound to them and a dispassionate delivery that shows contempt the way black metal used to for performance conventions. In that static delivery emerges a ritual, a seance of sorts that you as a listener are part of.
LVTHN
The Belgian black masters of LVTHN have been very productive in recent times, which explains their rapid rise in the scene and headliner spot. The direct impact of their name equals their sound, which is confrontational, direct and fierce. De vocals of their frontman are delivered with a frantic urgency. It’s the righteous headliner for tonight.
Improvised altars adorn the stage, but there’s little in the way of show to the fierce act of this group. Blistering black metal with an almost claustrofobic feel to it at times. The delivery is great, a tight show and a whole lot of energy. The eerie passages of dissonant guitars break the surge of sound at the right times. Apart from their frontman, the band appears to focus on delivering the sound more than anything. Truth be told, head and shoulders above the rest this evening. The closing act for a great night of Dutch black metal.
Label: Self Released Band: Ēnu Kaleidoskops Origin: Latvia
Sometimes you need to find the sound that is lcoser to nature, by venturing into nature and trying to get in touch with it. This is what Mārtiņš Links did, while studying in Lithuania. It is the origin story for the band ĒnuKaleidoskops from Latvia. A group that creates neo-folk with a particular calm and natural feeling to it.
This is as far as I can gather the third full length album of the band. The engineering work was done by Kaspars Barbals, who is a familiar name due to his work in Skyforger in the past. The group is a loose collaboration of artists, joining forces where needed to create beautiful music. On ‘Tie, kas šķietami zuduši’, the third effort under this name, they succeed for sure.
The music is typical for the Baltic tradition. A bit heavy handed, a bit dark sounding, but also very cozy and natural. A lot of chanting and a wide array of instruments to create all the different little sounds in the clean recorded songs. The vocals are mostly in harmony with backing vocals and instruments, like very clearly audible on ‘Asā zāle’. Meandering, wavery instrumentals put no pressure on the listener.
The playful folky medleys, like ‘Elpa’ with a Jethro Tull-y flute are very pleasant to the ear. Catchy, but also a little dark and unpredictable. On ‘Bula Laiks’ we even hear the intense rhythm section stepping back for just an idyllic bit of flute a few times, which sounds so heavenly peaceful and calm. The combination with the vibrant energy of the percussion is a thrill for the ear. I think that ‘Rūķu armija’ with its jolly intro is even a little bit of a hit potential song.
The core of the music is typical for Baltic volk. The reciting tone of the vocals, the repetitive patterns of the music and all are very much reminiscent of an act like Romuwe Rikoito and I guess a dozen groups, since this style of folk is simply quite popular. Not that it’s a casual thing that the people enjoy, it seems that there’s quite some younger people inspired to re-invoke the heritage in this type of neofolk music. The repetitive element is a common feature, but the flute play and expansive instruments are not necessarily so. It does function in such a way to create a feeling of otherworldliness, even trance by the repetition. The listener sinks away into a much emptier, younger world.
The mystical sound of this group definitely works for me.
Label: self released Band: Afsprengi Satans Origin: Iceland
Itś a bit muddy where this group just emerged from, with their peculiar cover and lack of info. There has been a band in Iceland with the name AfsprengiSatans, which is related to the groups Myrk and Momentum. Oh, and they’re from Reykjavik, but that is quite frankly all I can tell you about them.
The record is rather short, only five songs, of which four don’t reach the three minute mark, but number five lasts 14 minutes. The songs have the titles of the four compass points, where the final track is titled Experiment.
THe music you get is the sound of wind, blowing hauntingly, laced with soem further effects to create a blaring form of ambient music. In that torrent of sound on ‘Norður’, a rapid rhythm is discernible, but it is unclear what casues it. It may be something fluttering in the gale of wind, or tribal drumming. The tempo of that decreases a lot on the next track, which seems to have some horns sounding through the unrelenting winds, howling and lamenting.
With only slight variations, the record just continuous its path. Whistling, blowing and biting, the wind goes on. Now and then it sounds as sif there’s cut up sounds, messed into the music. Hacked up, mutated and strange to even create more of a fearful environment. The final track is another long ambient piece, which randomly seems to change direction. A rather intriguing piece of music if I may say.
So yeah, this is a weird release, but also fun and interesting. Give it a spin, you might enjoy its haunting atmosphere.
Label: Avantgarde Music Band: Battle Dagorath Origin: USA/Germany
With a band name, referring to Dagor Dagorath, the mythical end-battle in Tolkien lore (used for the final battle of the early ages, read The Silmarillion, you hobbit). With a title, that brings to mind the great Bal-Sagoth, this is a classic endeavour by Battle Dagorath in the field of epic black metal, titled ‘I – Dark Dragons of the Cosmos’.
I think you can safely say that this comparison isn’t completely ridiculous. The band is a studio project of Vinterriket (Christoph Ziegler, Germany) and Black Sorcerer Battle (USA). The duo worked together on Hellschwadron as well. There used to be a third partner, but now only two members are listed for this release. It’s part one of a story the band wishes to
The sound of the band is steeped in the blistering cold of bands like Emperor, with the sense of majesty of Wolves in the Throne Room. It’s not easy to create long epic songs that remain interesting to the listener and Battle Dagorath does pull that off. A bit of story telling also isn’t missing, in between the cannonades of cold riffs that pour down on you. For example, ‘Phantom Horizons Beyond’ has an outro of cold, metallic clanging and the sound of steps. This may seem trivial, but ambiance is everything with sounds like this.
The continuous, beating sound is enriched by calm, melodic guitar lines that weave through the haze. The combination of that melodic element and the rawness of the overal sound is what gives the album its interesting contrast. The vocals are furious barks, filled with venom. It’s intriguing to hear them being followd up with clean, warm guitar parts, like on ‘Return to Gates of Dawn’. The comforting tones shift back to the vitriolic howls over tremolo riffs and blast beats. There’s something very classic to the sound of Battle Dagorath, but it feels fresh and welcome to hear a band like this. Hectic, wild and like a raging battle, they do justice to their name.
Label: self released Band: Nimetu Origin: Slovenia
I find that my quest in the realm of music has shifted to something specific. I want to hear things that evoke the imagery of the verdant realm (as Botanist calls it), music to help me find my green cathedral (taken that from Winterfylleth). That allows me to find some real gems and Nimetu from Slovenia is nothing less than that. The album ‘Abri’ is breath taking.
An Abri is a rock shelter, which I can relate to the sound of the record, which is rather cavernous, using echo’s to fill up the sound. The artist describes the ‘Abri’ as a special place, a place where people took shelter for centuries. It’s the start of the world. With your back against the wall, protected from the elements, the world is stretching out in front of you. Every move you’ll make will be into the out there.
The music is very minimal, but still eclectic and adventurous. Using only a flute, it evokes the vision one may have from an abri, seeing the landscape stretch out in front of you. With just an arsenal of fluits and a kalima, there’s music that genuinely creates peace and quiet in the mind of the listener. Andrej Hrvatin did everything by himself on this record, which explains the complete serenity over the whole record and sound. It feels so natural and direct.
You can feel yourself sitting high in that crevasse of a mountain, overlooking the tree tops and birds soaring by. The wind gently whistles past you while the sun crests the summit of the mountains and golden rays fall down. It’s all this and more, the natural sound of solitude. This music truly is hauntingly beautiful in its telling about freedom in a direct and unsurpassed way: by expressing it to the fullest.
“Live in each season as it passes; breathe the air, drink the drink, taste the fruit, and resign yourself to the influence of the earth.”
― Henry David Thoreau, Walden
Danijel Zambo must have had clear reasons for naming this project after the famed book by the American author Thoreau. A hankering for solitude in nature is definitely something you can feel throughout the music of this record. The third release actually, by this musician.
The goal of this project is to create music that evokes ideas and emotions through referencing nature. As inspirations are also cited bands like Ulver and Empyrium, which is tangible in the dark folk sound that Walden produces. So time to immerse ourselves in the solitude of this Augsburg artist.
Walden is minimal guitar play, more expressive and impulsive than really creating songs, over mild ambient tones and the reverberation of the lower tones. It’s the sound of a lonely musician, enjoying the instrument without the need for song structures and complexities. Merely plucking the strings in an absent state and pondering life, enjoying the feeling of creating casual sounds.
Ofcourse not all of the record is like that, but most of it does hold to that feeling. On ‘Rad Der Zeit’ we can even enjoy an oriental bit of play, with precious precision. But most of the album is like the album cover, a smooth sunset that takes its own time in emerging. Letting go of time and other urgencies, just being and becoming regardless of human influences. It’s finding harmony within itself, that makes this EP so powerful and touching to listen to. A search for tranquility through music, by letting it flow freely.
Normally I just share the recent album, but I’d like you to check the covers that Walden did too here, so here goes. Particularly ‘The Rains of Castamere’.
Uzbekistan is probably not the first place you think of when you hear metal music. Still, there’s a big scene of alternative music in the former Soviet states south of Russia. Uzbekistan is an overly Islamic country that actually has seen its share of censorship in the best years, but the music flourishes, especially if the lyrics are in English.
With a dense history spanning the ages, it was rather surprising to me to find a band that took its name from a horrible spot of executions during the time France still had kings. Their sound was an eclectic mixture of various genres and this is what drew me to the band Montfaucon. I got in touch with them through e-mail.
Valentin Myamsin has left Uzbekistan and lives in the United States now, but the band keeps working on material across the globe. With a new record just released, titled ‘Renaissance’, the band is keeping it up and staying strong, so we had a nice little conversation about metal in Uzbekistan and Montfaucon.
Could you kindly introduce yourselves as band? Have or are you guys involved in any other musical projects?
Montfaucon has been formed in 2002 in the city Tashkent in Uzbekistan by me (Valentin Mayamsin) on guitar and Mikhail Epifanov on piano. We started actively working on composing songs and have been selected to perform at two day festival ‘Alternative music festival 2004’ organized by British council. (It was quite an event I’d say given that we had rare metal gigs and just a few metal bands). That was a trigger to find a drummer Renat Khidirov and bassist Sergey Sadokov. Over the course of next few years we had on bass Denis Raytuzov and Andrey Astashov and at last saxophonist Andrey Golubev. Today Montfaucon exists as a project since I moved to USA and I am separated with other members by the entire planet Earth. Thanks to Internet we’re still actively composing new stuff, but unfortunately cannot perform live.
How did you get inspired to make metal music? What bands specifically inspired you and why?
We all had different influences in different bands. I personally had influence of a very wide range of bands and styles, most notably Satyricon, Cradle of Filth, CannibalCorpse, maudlin of the Well, Andromeda, My Dying Bride, Opeth, Emperor, even PinkFloyd. What inspired me to make metal music? When I met Mikhail and heard a few of his dark piano compositions, I realized that it moves me. We combined them with heavy guitars, brutal vocals, and produced a unique and interesting sound driven primarily by piano. I thought that piano is quite unrepresented in metal music and it inspired my to further experiment with it.
How did you come up with the band name and concept of Montfaucon, which appears to be the place where a huge gallows was positioned in France during the time of their kings. A rather gruesome place?
Indeed. Gruesome, dark themes are found everywhere in our music and lyrics. The band name was inspired by Victor Hugo’s novel ‘Notre-Dame de Paris’. At the end of the book he describes Montfaucon gibbet which somberness stroke me. I have also been inspired by this novel when writing lyrics. The description of torturous imprisonment in a stone box gave inspiration for ‘Prisoner’, The song ‘The last night’ is set around Montfaucon gibbet and medieval punishment traditions.
Musically Montfaucon is an oddity, combining raw death/black elements with progressive and experimental bits. How did you come up with your specific sound?
I think it’s because of my wide exposure to different bands and styles. A friend of mine regularly introduced me to different bands before even Internet became widespread in our country and speed was enough to pirate music. It was late 90’s. He is an artist with extensive connections abroad who supplied him disks of rare bands, demos. Back then we could only find cassettes of popular bands like Metallica, Sepultura or My Dying Bride. But this guy had things like Satyricon, maudlin of the Well, SymphonyX, etc. This is what I grew up on, and this is what Montfaucon is heavy influenced with. And this is just influence on my side since every member of Montfaucon brought in his own influences.
Your musical production has been sparse. Are you working on anything right now?
Yes we are! We haven’t had a chance to produce a full length album for many different reasons. Back when we got started we merely didn’t have enough money. Mikhail was first among us who had a computer and we produced a few demos at home which allowed us to participate in big music events in Tashkent and promote on radio. Later on we were busy building our careers and couldn’t find enough time for music. And finally last year we decided that we owe ourselves a decent record and started producing our first album. We recorded everything at home, decent recording hardware is quite affordable nowadays. All songs have been composed a decade ago, but we refined some parts, added layers of additional details. Yet we tried to keep original parts contributed by each member of our band. Legendary Swedish sound engineer Dan Swanö agreed to mix and master the album which turned out terrific! He made every part of every song sound best, he managed to find our unique sound and he even put a few easter eggs for those who will listen carefully.
You’ve got a new album ready, can you tell a bit about that?
The new album is basically what we have composed over the course of active years. There are many experiments with the style and sound. Every song has it own unique sound and feature. We were lucky to work on the album with legendary sound engineer and musician Dan Swanö who made every our song sound the best it can possibly be. The album was recorded in the comfort of our home without any rush over the course of 6 months and exchanged files over the Internet. We didn’t have any previous recording experience so we involved the leader of ‘The Faceless’ Michael Keene who advised us on the process of recording. I was focused on the quality and I had to rewrite all guitar and bass parts 3 times. Mixing process was challenging as well since we had no clue how piano can be put together with guitars so it wouldn’t get lost. With Dan we went over many variations and experiments with the sound before achieving perfection.
What can you tell me about the history of metal in Uzbekistan and how does the scene look like now?
Well, I don’t think I’m competent to give accurate history of the movement as I joined metal community pretty late. I’d recommend reaching out to Peter Stulovsky for that matter – he can tell about promoting metal on radio and cover history comprehensively. However, I can give you my perspective on that.
When I first visited a metal gig it took place in an old ‘Palace of Culture’ which was quite common at the time. The place was not fit for this kind of activity: there was no dance floor, just dense rows of seats stationary nailed to floor. No wonder when people got high on heavy music and alcohol they started to crash this place and it finished with police and troubles for organizers. This kind of concerts and outcomes were quite common those days and seemed like other clubs learned that and stopped giving places for any gigs. There was a quiet period for a few years when old bands disbanded and new bands formed grown up on Internet and a new radio show called ‘Hard days’ (‘Тяжелые будни’). That was the time when we formed our band as well. Suddenly it was announced on the radio that there is going to be a two-day festival organized by British Council and there is a call for demos and rehearsals. Needless to say, it was one of the biggest events in music history of Tashkent. Many new metal bands showed up including us, Zindan, Sweet Silence and Titus. Here is a few of videos from that concert:
It triggered a renaissance in metal scene of Uzbekistan. Internet also became more widespread, opened a new metal forum where bands could promote themselves, gigs has been organized and announced. New bands started to pop up every month or so, opened a few more or less permanent rock/metal clubs, new records by local bands played on radio. A few examples. ‘Sepsis’ playing death metal including covers on Cannibal Corpse and Death. A black metal band from Ferghana (unfortunately I don’t remember their name, hope Peter will help out with that) playing blast beats on crappy Soviet drums. A progressive metal band ‘4th dream’ playing 10 minutes long ever-changing compositions with a vocalist singing in ranges from high pitch clean vocals to growl and screams.
It continued to be this way pretty much till I left the country in 2008. I guess Peter can cover up period from 2008 onward.
To wrap up, I’d say it was pretty isolated metal community. A few of Uzbekistan bands played abroad, mostly in Kazakhstan. A few foreign bands played in Uzbekistan. Although we always followed what happened on Europe and USA metal scenes.
How are the facilities for you in your country? Are things like music, instruments and such easily available? are there venues to play and rehearsal spaces, studioś and such available?
When we got started it was hard to find a rehearsal space, metal music was not welcomed, metal culture has been (and still) stigmatized in many people’s minds. As I mentioned earlier concerts has usually been held in ‘Palace of Culture’ with help of Soviet era amplifiers and speakers. Music instruments was hard to find. Guitars, basses, drums – everything was from Soviet era. Originally I even played on a DIY guitar combined from other guitar parts. I made my own distortion pedal, even tried different schematics found on Internet to achieve better sound. Occasionally somebody brought some wonders from abroad like guitar processors, cardan shaft drum pedals, etc. Rehearsals took place in basements, storerooms or in the best case in ‘Palace of Culture’ next door to some dance studio.
Later on it improved substantially. Some folks managed to find an abandoned high-rise student dorm and turn it into rehearsal space. There was room for everybody and they did not disturb other people. People started selling gear from China and Russia which was both affordable and way better then we used to have. People started hanging out in new rock/metal clubs demanding more metal gigs. Venues improved as well by providing better experience and security.
If you were able to play anywhere, what places would you most like to play shows at and why?
Haha. I don’t have any place in mind. I just love to play for any crowd.
Uzbekistan being a mostly Islamic country, do you face any repression as a metal musician? I’ve learned that this differs immensely depending on where musicians live and I’m interested to know what it’s like for you guys and if you have some experiences to share?
Well, I have not experienced any repressions on religious grounds. Although most people practice Islam, they are pretty mild. At least in big cities like Tashkent or Samarkand. However people still have Soviet mindset and police is quite repressive. Occasionally there was ‘educational’ police raids which I heard was quite humiliating experience. It didn’t happen to me though and as far as I know it usually didn’t have much consequences to others. Censorship might have existed, but all our songs are in English and nobody seem to bothered to translate what we shouted out from stage.
Do you put something typical Uzbeki in your music? Like note patterns, instruments or such?
Not really, I didn’t feel much influence of Uzbek music on me. Although we have an Oriental instrumental which hasn’t been recorded yet and a few turns in piano parts. Though I may not realize it, others may tell there is an Oriental twist in our music. You tell me…
What bands from Uzbekistan should people check out and why?
I don’t really follow Uzbekistan music scene these days. I hope Peter might suggest something.
What future plans do you have as Montfaucon?
I hope to finish new compositions which will raise quality bar for Montfaucon. We have a few unfinished songs which already sound terrific. I dream of Montfaucon to grow out of just being a project and perform live.
If you had to describe your band as a dish (food), what would it be and why?
Haha. Funny one. Bloody burrito? I dunno, music and food are in different dimensions to me which cannot coexist in close proximity. Say what?!…
Label: IME
Band: A Band Of Orcs
Origin: United States (or Hirntodia)
So the group of human children that played D&D and accidentally brought the A Band Of Orcs into our world are now dead… except for their DM’s older brother , who tought them how to riff like Slayer. This eased the bloodlust of the tribe, who now embrace metal as a means to conquer and dominate.
Blending nerdism and metal is the best, really. Originally this band was a five piece, but the war machine has been thinned down to only three mighty Orcish warriors from their own realm. The whole concept has been worked out pretty brilliantly. Merch consists of a card game, dice and miniatures and the group performs in costume. Though this release is not that new, it was so awesome that I had to cover it.
The sound of A Band of Orcs has developed from a blend of Slayer and Norther with the epic balls of 3 Inches of Blood to a more gritty and dirty assault on this record. More directed to death metal, less controlled and with vocals that have crusty feel to it. Maybe something like Kvelertak meets Svartsot in the Amebix basemetn style equipment? It has all the groove and brutality to go there, but also the epic riffing.
Sticking to their gimmick, the opening track is a weird war chant with frantic drumming, which launches into the title track. Hoars, shouted vocals rally the troops and indicate agressive action. Hooky, sharp riffs and tumultuous rhythms guide the song to its ultimate conclusion. ‘Heaving Death’ follows after a mad scream and a distorted, hazy assault of drums and guitars. It’s a thundering track and the pinnacle of this ferocious EP. Double vocals, chaotic and definitely wild, this track really harnesses the agression of the Orcish horde in a punked up aural attack. Oog, Cretos, and Gronk! are a deadly machine, so check them out!
Label: Temple of Mystery Records Band: Night Gaunt Origin: Italy
Who doesn’t like old fashioned doom metal? You know, doom the way it supposed to be. Well, if your answer is no, you should look no further. You wouldn’t understand how cool Night Gaunt is.
Night Gaunts are creatures from Lovecrafts unearthly tales, most particularly the Dream Cycle. There is little reference to the Lovecraftian tale though, but that’s alright. This release has two songs that are big and bold enough to stand on their own. It’s been released as an EP and is the first act of the band since their full length in 2014. Though this is not that much material, their whole aesthetic spoke to me enough to check it out.
The first track is the tragic, gloomy title track ‘Jupiter’s Fall’. It clocks just under six minutes and immediately hits you with the slowly progressing, big riffs. The minor tones are instant guarantee’s for a feeling of sadness and remorse, but the interesting gong sounds do wake you up from the nodding to the beat. The vocals by ‘Gc’ are smooth, even seductive to be fair. Sparsely using the vibrato in his voice, there’s an uncommon subtlety to the singers delivery, which is the right sort of magic for a haunting doom album. The sound has a bit of echo to it, making it sound more cavernous even.
‘Penance’ is the other side of the 7″ this is released as, with an urgent guitar line that hits you instantly. The song is more creeping, subtle like a snake that is wrapping itself around the listener. This song then does get a bit more muscular with the sturdy riffing, that never fails to have a sturdy, gothic demeanor to it. The pulsating rhythm does its part as well, even giving a hint of an oriental twist in the delivery.
Night Gaunt delivers on their promise. Doom with a pitchblack flavor.
