Isolation, solitude, nostalgia and poeticism all meet headlong here over two lengthy tracks. Paolo Bruni is the person behind all artistic expressions on this release. He comes from Brazil and now resides in Scotland. This is possibly not the reason for making depressive black metal but the sunshine is definitely lacking in his music here. Having been active since 2005 this EP follows on from full length album ‘No Morrow Shall Dawn’ back in 2013. It should also be noted that he plays in the live incarnation of Scotland’s finest atmospheric black metal outfit Soar (as well as with Germ and Kawir in the past) so as you would imagine there is no shortage of talent to be found here.
As the moribund fog enshrouded graveyard illustration highlights this is going to be a reflective journey full of doom and gloom but it is not all as dark as one may suspect and with the length of the tracks there is plenty to both enthral and immerse yourself in as you explore its murky terrain. ‘Infinite Stars Thereof’ is almost 20 minutes long and starts with a space-gazing cold synth line which despite minimalism is instantly evocative and atmospheric. One can imagine sitting on back watching the twinkling night-sky, there is no urge to hurry and this is a trip to be taken as a solitary one. Wind whistles, later thunder and lightning will strike and rumble in this naturistic odyssey and gradually other instruments slowly take up their gaze before an abrupt seismic shift sees everything exploding in with devastating force. Vocally at full force, screams are ferocious and impressive along with the now violent tearing thrust of the music. Patience has paid off and the “eternally radiating energy” is precise and deftly handled. There are also some lower growls as the Darkspace void seethes and bristles and a long rasping death-breath as this passage culminates into some gorgeous acoustic fretwork and spoken word parts. Yes, a splash of light even though moribund is breaking up the coldness and its gorgeous and dreamy in its fragility. As abruptly as the violence started it is dispensed with and the two styles and emotions are perfectly counterpoised leaving the listener more than happy to coast off and float away as if projected to the astral plain and wander among the stars themselves.
The second number sees us doing just that ‘The Crossing Of The Great White Bear’ takes us into the constellation of Ursa Major and is represented via a piano etched keyboard sonata heavily rooted in classicism. From gentle raptures we explore this wonderous cosmos via mournful vocal screeches and guitar melody which is all quite sublime. Having drawn in there’s no real need for speed here, the dextrous guitar work glistens and enraptures every step of the way and its as breath-taking in its own sorrowful gaze as any unnecessary chasm dropping plunge could take it. Indeed, perhaps by not including one here this is a work of great control leaving the listener to drift along in a state of near tranquillity until conclusion.
This is one that gripped me on first play and has grown in stature on each spin. Listen to it below and be prepared to be projected from graven earth to Ad Astra and beyond before the final tolling of the bells bring you back down to earth once more.
(8/10 Pete Woods)
Leave a Reply