When you know little or nothing about a band, despite the efforts to obtain a minimum of information about it, beyond the fact of sharing or not this choice, you can only talk about the music, which in the end is still what interests us most. So it’s a good thing that DeRais have a clean slate on their identity and everything else (except for their German nationality), if it results in an impressive work like Of Angel’s Seed And Devil’s Harvest, a real gem of dark and destabilizing musical art. The funeral doom is the basis of this work that offers about three quarters of an hour of instrumental music, disturbed by the use of recorded voices that appear predominant in the two long central tracks, Hellbless and White Night. In the first track we find samplings of psalmody voices along with other distorted, which still suggest a content of an anti-religious nature, placed within a first level musical writing, with its suffocating, obsessive, but in the final part opens in a magnificent crescendo, the second, however, musically covers the recordings that witness the last moments of the tragic events that led to the death in Guyana of more than 900 followers of the infamous Jim Jones. This artifice is actually not a novelty, since only a few years ago did the same as the U.S. Shadow Of The Tortuter, with a test just as impressive and able to return to the best the dramatic tension of those moments: DeRais emphasize the events with funeral doom as much asphyxiating, which is occasionally raised in its gait by vehement drum rolls, a particular found in Hellbless. The two shortest tracks are the worthy corollary in the opening and closing of the work, and they are in favor of the knowledge of the matter expressed by DeRais, which, in deference to the heinous serial killer fifteenth century from which presumably take their name, seem to observe the ugliness of humanity with an eye between the cynical and complacent, revealing certainly merciless in their pouring on the listener a form of funeral doom of surprising quality.
2017 – Ván Records