The latest arrival in the English-speaking part of Canada is the anonymous musician from Vancouver who founded Gospel Of Death, whose appearance on the scene is with We Are Only Here To Suffer and its over seventy minutes of dark music, sometimes difficult to categorize, but rightly inserted in the funeral for the approach, beyond the rhythmic or compositional anomalies. The fact that the peculiar instrument of the album is the dulcimer already says a lot about the rate of originality to which you have to get ready, but despite this, the listening is not at all difficult, just because the sound that comes out is never too stinging nor too rarefied, finding for the most part a good synthesis between the two extremes and showing as the only flaw, at the limit, to be a bit too diluted even for the habits of the funeral, but not in such a way as to compromise the enjoyment. Even the alternation between the whispered voice and an effected growl could insinuate some reservations in the purists of the genre but, in fact, one of the merits of this first work by Gospel Of Death is also that of a spontaneity that allows the sound to float without caring too much about the stakes that virtually delimit the funeral. After the first two long tracks, The Conqueror Worm and Lost In Infinite Realms, we already have a good idea of the value of the work, as well as of most of the facets that characterize it: gloomy and threatening atmospheres leave room for a good melodic taste, relegating the most robust moments to a minority, alternating them with liquid ambient passages that have the advantage of not decreasing the tension. Certainly We Are Only Here To Suffer is suitable for an autumnal assimilation just for its enveloping and intimate characteristics that evoke emotions gradually instead of exhibiting them suddenly. The instrumental Blood Portal is a magnificent episode that lies between dark ambient and dungeon synth while The Grand Misery recalls the Fields Of The Nephilim more rarefied Elizium and Mourning Sun but always with the dulcimer to represent the element of discontinuity against any source of inspiration more or less marked, even if the one of McCoy’s creature hovers in more than one occasion without, however, the songs develop in gothic direction, preferring just any openings to the lacerating melancholy of doom. This happens in an exemplary way in the title track, the final song that really contains the best talent perhaps not yet fully expressed by the anonymous musician with his project Gospel Of Death has given one of the most intriguing recent news.

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