New full length for the solo project of the Norwegian Gunnar Hansen, Faustcoven, a name that has gained a certain consensus among fans of dark sounds between doom and black since its first appearance at the beginning of the millennium. In fact, it’s not surprising that the Trondheim musician has managed to convey a certain aura of cult on his creature: the Faustcoven sound has something ancestral about it, even though it objectively appears rather peculiar, and is proof of how much you don’t need licky productions or elaborate technicalities to satisfy the hunger for good music of those who listen to the two genres mentioned. Hansen, who for more than a decade now has had the invaluable help of Johnny Tombthrasher on drums, has the great merit of getting to the point without too much delay, which makes In The Shadow Of Doom a harsh, stinging and convincing test on all fronts. In spite of these basic characteristics, Faustcoven is not synonymous with stylistic immobility: its oscillation between black and doom, with the balance, however, leaning significantly on the latter, allows frequent changes of pace, allowing us to find fiercely fast songs like Sign Of Satanic Victory or asphyxiating episodes such as Yet He Walks or Marching In The Shadow, to get even the crazy doom tinged with a sick blues (with a harmonica in the final) of As White As She Was Pale. The vocal snarl only increases the feeling of being in the presence of a reiterated and necessary ritual that leaves no room for pitiful gestures or vain hesitations: the darkness is there, looming and ready to swallow us, and resisting it is of little use, so much so that we might as well go along with the lethal rhythms of Faustcoven.
2018 – Nuclear War Now! Productions