Genre | Black Metal |
---|---|
Date (CEST) | 2020-10-04 20:16:50 |
Group | GRAVEWISH |
Size | 67 MB |
Files | 6 |
M3U / SFV / NFO |
Kuolemajarvi-Kuolemajarvi-RU-2020-GRAVEWISH
Infos
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Tracklist (M3U)
# | Filename | Artist | Songname | Bitrate | BPM |
---|---|---|---|---|---|
1 | 01-kuolemajarvi-i.mp3 | Kuolemajärvi | I | 250 | Unknown |
2 | 02-kuolemajarvi-ii.mp3 | Kuolemajärvi | II | 282 | Unknown |
3 | 03-kuolemajarvi-iii.mp3 | Kuolemajärvi | III | 287 | Unknown |
4 | 04-kuolemajarvi-iv.mp3 | Kuolemajärvi | IV | 290 | Unknown |
5 | 05-kuolemajarvi-v.mp3 | Kuolemajärvi | V | 266 | Unknown |
6 | 06-kuolemajarvi-vi.mp3 | Kuolemajärvi | VI | 282 | Unknown |
NFO
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██▌ Artist...: KuolemajΣrvi ░▐██▌
░▐██ Album....: KuolemajΣrvi ░██▌░
▓▐██ Year.....: 2020 ▓▐██▓
▓▐██ Rel.Date.: 2020-10-04 ░▐██▓
▐██ Genre....: Black Metal ██▌░
░ ██▌ Label....: Der Schwarze Tod / COD Music and Distro ██▌
▐██ Source...: CD ▐██
░▐██▌ Type.....: Album ▐██▌░
▓▄████ Quality..: VBR, 44.1kHz, Joint Stereo ████▌░
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1. I 6:05
2. II 7:03
3. III 4:15
4. IV 3:20
5. V 7:40
6. VI 5:26
------
33:49
This self-titled debut might just be the sleeper cult black metal album
of the year. The last couple of tracks together are just incredible and
worth the price of the whole album. KuolemajΣrvi is a BM project with
ambient and experimental electronic influences hailing from the Republic
of Karelia, on the border with eastern Finland in northwest Russia,
drawing inspiration from the natural environment and the Karelian
culture and spirituality. That two Moscow-based labels (COD and Der
Schwarze Tod) see fit to release this recording about the same time may
say a great deal about KuolemajΣrvi's potential. According to COD and
Der Schwarze Tod's Bandcamp pages (they both have the same information
about the project), the music and lyrics were all done by one person so
KuolemajΣrvi looks like a solo project but at present not enough
information is known about it.
The six tracks have no titles but are numbered I to VI, yet the music on
all of them is different enough that the album becomes a collection of
songs though a life-cycle narrative can be traced through them. The
first track is a forbidding atmospheric piece with cold-blooded
reptilian vocals spilling more saliva than lyrics while shrill lead
guitar wails overhead and a sludge beat bangs occasionally beneath the
deep fuzz. It's hardly the stuff from which great albums arise but from
here on things are looking up, apart from the depressive mood. Track II
is DSBM gone pop with a surprising head-banging deep groove, a distinct
riff motif and great key-change moments of transformation. The reptile
vocals have been cleaned up and are starting to sound human. The formula
of near-danceable beats, catchy Odin-pop tremolo-guitar melodies and
riffs, and distorted swamp-monster vocals, all etched with a shimmering
cold ambience, continues through subsequent tracks.
It's with Track V that the album hits its peak: with lyrics adapted from
a poem by famous Russian singer-songwriter Vladimir Vysotsky (died
1980), it's slow and depressed, dark and heavy with melancholy, with a
guitar sound and riff that strangely reek of abandoned gold-rush mining
towns half-buried under sand dunes while a blazing desert sun blasts
down on them. The guitars gradually become more raw and noisy while a
deep sonorous vocal chants over them. The song keeps surging ahead as if
burrowing into its own dark extinction destiny. The album closes with a
highly atmospheric and experimental instrumental mood piece, trippy and
trance-like, and spooky to boot, as though death has just occurred and
the soul is already floating into space, lost among electronic bleeps
and bloops, cricket noises and controlled droning guitar.
Across the album the mood ranges from melancholy and depression to
outright despair and abandonment in spite of the beguiling poppy nature
of the songs. Each track is more or less distinct (the middle ones a bit
less so) and the album improves out of sight with the last two. While
KuolemajΣrvi does not exactly reinvent the wheel of pop-sounding BM,
there is a very adventurous aspect to the music with a number of songs
having an experimental air in their tones, textures and atmospheres. The
simple structures of the songs may not amount to much and some listeners
might find them monotonous, even unfinished. In spite of the lack of
complexity and the general downbeat nature of the music and its theme,
the music is infectious, almost toe-tappingly so, and the mood and
depressive riff on Track V are so unforgettable, they need a
post-apocalyptic /post-industrial collapse movie dedicated to them.
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