supported by 37 fans who also own “Variations on 'Dancing with Stars'”
This was truly a revelation. I was getting started with funeral doom, working on something with my headphones on... Then came Déluge... my jaw actually dropped, I stopped what I was doing and, wide-eyed, just listened to the track, baffled and amazed. After the album was over (I never do this), I went to lay down with my headphones to enjoy it over again.
I rarely heard (and felt) this much power and emotion in an album. Until I find something better, this is my landmark for peak funeral doom. fluo
supported by 31 fans who also own “Variations on 'Dancing with Stars'”
4 5 6 a été "composé à partir d'une mélodie créée en 2002" et cette précision n'est pas anodine car ce bloc tourne pour ainsi dire sur une seule mélodie, mélodie répétée, modifiée, torturée pendant trente-sept minutes. Black metal, funeral doom metal, black metal suicidaire et dépressif, post-rock et quasi rap se succèdent avec un naturel qui force non seulement le respect mais surtout l'admiration. Le chant transperce de part en part.
《 If there's a reason to live / there's a reason to die 》 Jordan Vauvert
supported by 30 fans who also own “Variations on 'Dancing with Stars'”
A truly stellar death/doom album with heavy doses of black metal. Tracks like Isolation, Child of Light, and Broken Hymns deliver the sorrowful and icy tone of this album, elevated by the stirring cello compositions of Raphael Weinroth-Browne. The album delivers a deeply satisfying crescendo in Becoming Intangible before stirring the soul once again with Epilogue. Matt Richardson
If you're going to go out in apocalyptic style you might want to have the 40 minute title track playing loud at your side. Bandcamp New & Notable Nov 12, 2013
supported by 29 fans who also own “Variations on 'Dancing with Stars'”
On ne frappe pas un homme à terre : c'est ce que dit la règle mais NONE a déjà prouvé qu'il ne les suivait pas et si son album éponyme retirait toute perspective de béatitude spirituelle, Life has gone on long enough, son deuxième opus, nous interdit l'accès au bonheur terrestre. La vie n'a aucune substance et la production plus distante le confirme. Le DSBM s'empare de textures sonores blues, mettant en relief une dépression urbaine. Les cris partent en fumées : ne restent que les pleurs... Jordan Vauvert