Tag Archives: Pesanta Urfolk

Trepaneringsritualen / Sutekh Hexen – One Hundred Year Storm

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OHYS_LP

 

I love repeating myself as much as the next narcissist, but even I’m starting to get tired of talking about the inherent contradictions in “metallic” Dark Ambient. The Universe doesn’t want me to stop, however, and have sent Trepaneringsritualen & Sutekh Hexen (T&SH – I’m not typing that again) to record a live album. The live album – sloppy, raw and drenched in shouts and cheers – seems the very essence of Metal’s Rock n’ Roll heritage, and the exact antithesis of such a delicate, deliberate style of music as Dark Ambient, but One Hundred Year Storm (Pesanta Urfolk) is a two-track, hour long live recording of Pagan/Ritual Ambient that’s easier to imagine coming from a studio.

The good news is that it works surprisingly well, T&SH building up an effect atmosphere through the use of static, guitar drones and distorted vocals. One reason for the success is that this is much more dynamic than a lot Dark Ambient – though atmosphere is still paramount, each track has a sense of moving forward towards a particular goal.  Things “happen”, to put it crudely, and the music avoids the aimlessness that their peers sometimes fall into. The sound is generally effective, though sometimes a little distant or fuzzy, and the different layers of sound are clearly audible.

As I’ve already mentioned, however, One Hundred Year Storm is a live album – and that means crowd noise. There is something genuinely disorientating about the cheers and clapping that sometimes breaks out during quieter moments. This is music that builds atmosphere and tension – having a bunch of “Wooh! Yeah!”’s intrude upon that is like watching someone doodle a smiley face on a piece of modern art, and can drag you rather awkwardly from the effect T&SH create.

One Hundred Year Storm is a genuinely effective, captivating piece of dynamic Ambient Noise, and possibly a good starting place for Metallers who want to explore this style but fear that it may bore them.

 

8.0/10

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RICHIE H-R


Common Eider, King Eider – Taaleg Uksur

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ceke album cover

 

The link between Metal and Dark Ambient music, though by this point undeniable, is rather a strange one. The point of commonality presumably lies in both genres’ fascination with “darkness” and negativity, but in terms of musical approach there’s very little common ground – Metal’s aggression and energy contrasted with music which is passive and languid by design.

 

California’s oddly-named Common Eider, King Eider seem like the personification of this contrast, with artwork and aesthetics designed to catch the attention of any Grimly Frost-Bitten Cryptic Winter Panda in the area, and music that couldn’t be further from Metal’s “more is definitely more” approach.

 

The four tracks that comprise Taaleg Uksur (Pesanta Urfolk) are built of sparse, minimalist drones, echoing silences and vocals that range from ghostly whispers to desolate shrieks. Whereas more Metal-friendly acts like Gnaw Their Tongues create dense walls of howling noise, Common Eider… keep it simple – there are several moments which consist of a single, unaccompanied drone that hovers on the verge of silence. 


It would be easy for a listener more comfortable with the conventions of Rock and Metal to declare that “nothing happens” on Taaleg Uksur, and they wouldn’t exactly be wrong. This is an album where things are suggested rather than heard – where atmosphere takes precedence over event – but that doesn’t mean that there’s nothing interesting here. They have a surprising grasp of dynamics, switching from quiet to loud (or comparatively loud) drones to positive effect, and the use of vocals (comparable to last year’s Lustmord album, but much more stripped down and minimalist) adds a lot. The final track, ‘Caribou People’, introduces acoustic guitar and electric-guitar drones that create a sense of climax, and allow something to finally “happen”.

Taaleg Uksur is a rich, surprisingly engaging album of minimalist ambiance that uses emptiness as a potent tool, but if you’re the kind of person who reads that as a pretentious way of saying “someone goes ‘whooo’ and then nothing happens”, then you’d be advised to stay away. Metal fans seeking more ambient territories may find the new Wolves In The Throne Room an easier starting point.

 

7.0/10.0

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RICHIE H-R