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Terra Relicta Top 20 Of 2017



01. Sólstafir
- Berdreyminn
02. Ulver
- The Assassination Of Julius Caesar
03. Au Champ Des Morts
- Dans La Joie
04. Anathema
- The Optimist
05. God Body Disconnect
- Sleeper's Fate
06. Peter Bjärgö
- Animus Retinentia
07. Friends Of Alice Ivy
- The Last Days Of Fenwyck
08. Isenordal
- Shores Of Mourning
09. Phallus Dei
- Black Dawn
10. Au-Dessus
- End Of Chapter

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Random album

Kalt - The Invisible (2014) - Review

Band: Kalt
Album title: The Invisible
Release date: 7 November 2014
Label: Self-Released

Tracklist:
01. The End
02. The War
03. The Sister
04. The Mother
05. The Father
06. The Brother
07. The Oceans
08. The Zombies
09. The Jail
10. The Key
11. The Life

Kalt is the solo gothic rock venture of the German multi-instrumentalist and composer Mike York, who is also well known as guitar player - formerly with the legendary Garden Of Delight for eight years and currently contributing his talent to the great Sweet Ermengarde. Kalt's fourth long-playing has just gone on sale under the pertinent title of The Invisible. It's a totally self-produced and thus free-willed album which portrays the artist's inner maze on impulsive swells of hate and devotion with a strong filmic character. Mike weaves here an embrace of anguish and comfort over the listener, providing an ultimately inspirational roller coaster ride. All the titles are preceded by a definite article, as it's the musician who inwardly x-rays himself to render emotions into songs. It also makes sense as we can easily identify our own invisible angels and demons with his, dragged by Kalt's far-reaching torrent of sound. In the light of the result, this seems Mike's all-out mixing and production effort so far, focussing on an intricate twist of harsh and shimmery chords, and on a strategic placement of beats, synths and enhancers for a consistent transmission of the lyrical message. Furthermore, these songs are imbued with an indescribable vibe that makes them appear much longer than they really are, somehow like thrilling lifetime scores heard at a near death experience whose guiding thread is the mournful, low-pitched vocal delivery.

The soundtrackish effect is already felt at the album's outset, when the chilling "The End" is launched off. Squealing snarls of guitar, with a typically Swans anarchy, extend a freezing welcome to the listener. Chunky, sawing bass chords meet the pulse-pounding rhythms to form a groovy thriller-theme drive, which contrasts with the sung and keyed bleakness. Next comes "The War", giving continuity to the doom-laden issue addressed in its predecessor but more heavy-riffed, even with certain industrial sheen. The hoarsely whispered singing and the Ministry-like apocalyptic voice samples conjure up no shortage of armageddon imagery. Conversely, "The Sister" sounds in synch with the 80's likes of The Mission and The Cult, featuring those ringing guitar shimmers so characteristic, and a no less distinctive fueling system based on prominent bass and crisp drums. "The Mother" follows, building slowly on acoustic sparkles and ticking percussion. Once the suspenseful ambiance is set up, the affected vocals make us accomplices of a big loss. Its sad mellow and hypnotic cadences bring down the walls of our awareness so that we're plunged into a wistful, yet warm, fictive location. Rather, "The Father" blows strong like a north wind, tangling us in a swirl of distorted wails of guitar and rattling drum patterns. Mike's vocal chords drip with anger and disillusion, echoed firstly by wintry pinches and by haunting keyboard tunes in the song's outcome. Closing this 4-track familiar stage is "The Brother", which gives a crash course in ace-high, epic gothic rock. The last pair of tracks has brought to my mind some exciting highlights of Love Like Blood's discography. Synthed murmurs of waves introduce the instrumental "The Oceans", whose enigmatic mix of stacattos, noises, riffs and jangles adds it an air of sinister beauty. Then, the triad comprised of "The Zombies", "The Jail" and "The Key" showcases Kalt's anthemic skills to full effect. The three are visceral, tight and hook-laden numbers but they also hit the precise nerve and leave enough room for the atmosphere. Finally, "The Life" gives us an exact measurement of this artist's capabilities to create timeless music. Equal parts psychedelic and progressive rock, cloaked in black though, this gem sticks in the brain since the very first sound. Gradually, its symphonic swing, deep synth pad, soothing baritones and slow trance-inducing rhythms, make us drop ballast for a comfortably numbing flight. Mike's excellent solos soar elegantly flanged and tuneful, fitted in at exactly the right time to suspend us in time and space. David Gilmour himself would be proud of this breathtaking piece which perfectly rounds off an album made of true gothic rock and filled with heart-felt emotion too. Musicians craft their best by going on an inner pilgrimage and The Invisible is unarguable proof of it

Review written by: Billyphobia
Rating: 8,5/10

Recommended by Terra Relicta

Band: Atrium Carceri
Album title: Metropolis
Release date: 9 June 2015
Label: Cryo Chamber

Metropolis is above all a very dark meditative journey, locked out from the illusion and takes place entirely in our former home within darkened sky and gargantuan citadels where the man once ruled as gods. Metropolis is in strong connection with the previous proper album The Untold which was released in 2013 and with which Simon took us to the origins, to the primordial metropolis and into the void where the creator abandoned us. The new epic output follows the expedition to uncover the truth about the factions in control, what happened to the long lost architect and how to open a portal back into the colorful illusion the ignorant call home. Metropolis is one of those climaxes of everything taged dark ambient. This time Simon went quite out of the genre borders and created such a stunning work of art that will leave a deep mark within the scene. With such compositions where the attention for details is essential, where subtle layers offer an otherworldy experience, yet everything is well produced and comes with a very nice artwork and just calls for many repetitions. Metropolis is a prime example how to make dark ambient music flowing and melodic, strenuous and adventurous, strong, lush and emotional, almost solemn in its very essence.

Read a full review HERE