As announced in the article written to comment the vinyl re-release of Morast‘s first demo, the time has come for the release of the first full length for the German band. Ancestral Void confirms the feelings we had a few months ago, that is to say that we are in the presence of a band with a solid and compact sound, with the only flaw of being little varied, while appearing equally incisive. The death doom soiled with sludge of the Teutonic band is the emblem of a very linear approach, that doesn’t lose itself in preambles and doesn’t waste energies in the research of particular digressions, aiming essentially on a granitic impact. Crescent, opening track of the work, is the ideal manifesto of the characteristics described above, with its obscure riffing, rhythms not excessively slow and a harsh voice that avoids any melodic temptation: it is anger, for the most part, to prevail over sadness, representing a form of reaction to the passive withdrawal of those who are crushed by the weight of existence. So, while in Sakkryfyced appear melodic semblances that make the song relatively more accessible of the lot, Loss pushes more on the side of incommunicability, with a trend from the slowness much more pronounced. Ancestral Void is a short work that proves to be effective for almost all its duration, with Compulsion and the mentioned Loss perhaps less incisive and direct than the other four tracks, and the haunting title track to seal a test of good thickness but monothematic appearance, especially for those who are less familiar with the genre: it is confirmed, therefore, the good things previously exhibited by Morast, but without the sensible leap in quality that perhaps it was legitimate to expect. That said, Ancestral Void is an album whose monolithic progression expresses equally a certain charm.

2017 – Totenmusik