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record reviews evoken

FALL OF EFRAFA
Elil
(Halo of Flies)

SOUVARIS
A Hat
(Gringo)

DEFCON 4
The Bad Road
(Supernova)

HAIL! HORNET
S/T
(Dwell)

EVOKEN
A Caress of the Void
(I Hate)

NORTHERN LIBERTIES
Ghost Mind Electricity
(Badmaster)

GEZOLEEN
Black Spaces Between Stars 
(Acerbic Noise Development)
 
LARKIN
Every Day Begs the Question
(Mother Should Know)
 
MORE REVIEWS

EVOKEN

A Caress of the Void
(I Hate)


 

I came to know these slow hands accidentally. A couple of months ago, I actually run into their 1998 record Quietus at my local record store and it only cost me $0.99, so that shall be part of the next installment of the Tales From the Cutout Bin series. Quietus was released by Canadian label Dwell records, which has actually been re-animated recently and who over a decade ago issued a pretty average Celtic Frost tribute record I used to rock to back in college.  Evoken have been getting great press lately and even before the release of their latest. A Caress of the Void. I have encountered a couple of pieces praising highly the dead tempo and sleeping power of Quietus. Nowadays this Lyndhurst New Jersey foursome is signed to Swedish doom reign I Hate Records, who are dishing out some of the mightiest doom in the world (not an exaggeration by any means), and who with Evoken, really, score another fucking legendary touchdown.

 

Anyway, imagine four really old trees playing metal. It would be doom, right? No other way around it. It would be slow, of the tenebrous kind, sort of eerie, supernatural in some ways.  As fast as the wind shakes the heavy and oddly long branches, slow and long movements, massive string strums shall be let rung. As long as there is feeling is fine. This, the feeling, shall not be of the good kind. Actually, the uglier, the more negative, the more depressive and suicidal, the most negative, perverse and antagonistic, the better.  Take “Of Pure Absolution” for instance; is clean and dirty, clear strings and blurred up massive heaviness; dazed, stuporous and nightmarish melodies move at snail-like pace. Evoken’s metal has been carefully arranged, while most tracks go over the seven minute mark, most seem to move in chapters. The cut in question (“Of Pure Absolution”) for instance, gets a tad faster, but there is no spirit lifting nor light at the end of the tunnel kind of feeling. A few other passages own a slice of the cut, the absolute feeling of despair is constant though. This is doom to drown to.

 

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