Magnificent debut for the mysterious Russian band Abysskvlt, with a melodic funeral doom worthy of the best Ea. And it is precisely Ea who act as a reference point for ours, both for the media approach that leaves little room for the egos of the musicians, highlighting only the musical product, and especially for a similarly evocative style, based on a slow pace but always focused on an emotional impact created by the wall of guitars and keyboards. Four tracks for a total that exceeds seventy minutes, are the eloquent business card of a band that will give satisfaction to those who love this particular stylistic segment of funeral, which obviously includes among its most shining examples the seminal Shape Of Despair. I imagine and hope that the citation of these landmarks is enough to understand what thickness Thanatochromia is: Abysskvlt don’t want to rewrite the history of the genre but, essentially, they do in the best way what is expected to listen to those who love the bands mentioned; maybe, if you want to look for the nitpick, those emotional peaks that elsewhere are given in profusion are missing, but on the other hand the album never presents drops in tension or interlocutory moments. A suffused but uninterrupted pain dominates the songs in their entirety, even if House Of Woe, compared to the other tracks, thanks to a writing even more aimed to accentuate the drama with the corollary of sobbing voices in the background, gives twenty minutes of level completely up to the best expressions of the genre. Abysskvlt as the new Ea, then? A single album does not allow us to say with certainty, but Thanatochromia introduces a band that appears amply capable of retracing the footsteps of the equally mysterious champions of funeral doom.
2015 – Endless Winter
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