It’s been a while since we heard from Time Lurker and multi-instrumentalist Mick. The last release was a split EP with Cepheide in 2019 but now he is back from journeying through the space time continuum with second album ‘Emprise’. The cover-art gives the impression that this is going to make your head explode or at the very least disintegrate and as with the last couple of tracks we heard, one expects an atmospheric multi-layered assault of burgeoning darkness.
Somewhat streamlined to just five tracks and a running time of just over the half hour mark we gaze into the dark universe with the title track instrumentally building up. It sounds like a universe being created out of vacuum via dark ambient strains, faint groans and minimalistic tones that have an air of sadness about them. ‘Cavalière de feu’ similarly simmers and projects a bleak template as creation very slowly begins to take form. When the fire hits it is hostile and as drums batter away the vocals ring out with anguished screams and we have gone from very little to a full-on assault. The driving pace comes with the words translated to “the kingdom of heaven belongs to violence,” and the mastering courtesy of the ever-reliable Deha makes it a roughshod and brutalising cosmos to have found oneself tossed into. ‘Poussière mortifère’ suggests that further danger in the form of deadly dust and pollution. Pace is varied, musically it is a barren world we cast our gaze at and contemplate with the vocals screamed out with tortured disillusion. Windswept, cold and toxic are the words that spring to mind as the smog gathers over the near 10-minute doomed environment but the melody gives it a mournful and somewhat beautiful glow. But not for long as ‘Disparais, soleil’ hints that this is a place where even the last rays of the sun are dying. Here the multi-layered approach is dropped to looser shimmering Gothic guitar work and the shrieks are accompanied by some delicate backing female vocals. At least Adam or Mick gets to join Eve as the universe folds in on itself.
I get the impression that there’s a loose story going on here but any chance of interpreting it is difficult as the last lengthy number ‘Fils sacré’ is completely instrumental. It is however a whirlwind of decimating force which at first obtusely barrages away before getting slightly more upbeat with its dramatic finale. Perhaps the “Sacred Son” of the title has saved a civilisation on the brink of collapse, all hail the new Messiah!
(7/10 Pete Woods)
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