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Cervix : In The Red Night, A Roar... Slowly, A Chant Began... [Metal]
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专辑名称：In The Red Night, A Roar... Slowly, A Chant Began...
歌手姓名：Cervix
唱片公司：Trazeroeuno / Cuckold
发行日期：2008年xx月xx日
专辑流派：Metal
专辑语言：英语
文件内容：mp3 vbr 57,10 MB
When I got this, I really didn’t know what to expect. It’s quite a nicely presented CD-r, arriving in an oversized cardboard sleeve with pictures of purple alpine peaks and some white and green graphic scratchiness, and also includes two photos as well as the CD-r itself. When I looked it up on the internet, the description on the label website mentioned something about psychedelia, and “kosmische musik”, so along with that lengthy and slightly pretentious title, I immediately began to have thoughts of extended screaming searing guitar solos, long tracks lasting more than ten minutes, and all interspersed with wibbly wobbly sound effects here and there. Also, memories of long hair, beards and Jesus sandals kind of reared their ugly heads too. What can I say? I was born in the early sixties....
As it turns out, I was mostly right, except the bit about screaming searing guitar solos – not entirely sure about the long hair, beards and Jesus sandals either (although some of that I would wager is true too). If it wasn’t for the fact that it mentions on the sleeve that this was recorded only last year then I would have been convinced that this was a vintage recording from 1967 – there is indeed something extremely redolent of that era going on here, with a slightly Hawkwind-y, early Krautrock-y vibe readily apparent throughout. Add into the mixture, driving guitar and bass lines, those strange otherworldly wibbly-wobbly sound effects mentioned above, some flute, a smattering of odd little bits here and there, and of course suitably fantastical sci-fi lyrics. I f you think that this all sounds a wee bit cheesy then you’d be wrong – I found myself being pleasantly surprised by this.
It all begins with feet firmly entrenched in dark ambient territory, bass drone accompanied by breathily deep woodwind sound, shattered by a broken oriental stringed instrument, that sets nerves on edge. That goes straight into the ‘The Path of Oirat”, driving bass, guitar, and percussion, flavoured with that almost Hawkwind-y essence (and this is not meant to be insulting by the way...). It powers along nicely, augmented by a strangely elemental voice that helps to spirit the music into the psychedelic regions of the mind. With the addition of hand percussion and flute, it further cements the impression that somehow we’ve been transported back in time, to the Filmore Stadium and Mouse & Kelley posters. A nice touch, which also seems to echo many of the psychedelic rock bands back then, is the inclusion of mini-movements within each song, helping to break them up into digestible chunks and also keeping them interesting.
The space-rock/kraut-rock nuanced ‘Oboo’ continues in very much the same vein, beginning with a pleasant guitar figure before taking off once more into the stratosphere with jets of that pile-driving guitar, bass and drum set-up. There’s a HUUUUGE streak of sci-fi vibes threading through this one, lending it an almost film soundtrack atmosphere to it, one of those 1970s low-budget affairs that despite their limitations became iconic symbols of the era, just like the music itself. One can easily imagine a rocketship hurtling across the uncountable lightyears, finally landing on some far-flung and strange unearthly planet somewhere out in the vast cosmos. Unfamiliar sights, colours and shapes abound, heightening a sense of uneasiness. Also running through the song is a sense of dread and malignity, felt more than heard.
That dread seems to have emerged in the last track, ‘The Water of Life’, at least in the opening passages. Emerging out of the menace is an echoey bass-line, erupting into a classic sixties psychedelic guitar riff backed by a monstrous bass sound. This also nicely strays into doom terrain, lashing and oppressing the listener with a crushing heaviness. The sound on here is simply gigantic; even the crunchiness of the production, which ices it with a low-down dirtiness, is beneficial to the overall effect. You get the distinct feeling that should this hit any manner of inanimate object, be it as small as your average family car or your stellar mega-giant, then its days of material cohesion are well and truly done for.
Having said that it came in a nicely presented package, I have to admit that initially I found it a slightly unappetising prospect to review this. But, it should be noted, I am made of sterner stuff, and I am utterly glad that I got straight to it. This ranged across a goodly spectrum of ideas and atmospheres, blending sixties/seventies-style psychedelic rock with space-rock and classic kraut-rock, allied to a sense of the possibilities of expansive soundtracks and simultaneously throwing in a large lump of crushing doom as well. On paper it doesn’t really augur that well, but I honestly think that it repays close attention and giving this effort a try, so I suggest that you do so as soon as you can.
01. ... 02:10
02. The Path Of Oirat 11:20
03. Oboo 13:03
04. The Water Of Life 12:27 |
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