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Surely
it is more distinctive but had the production rendered a
more organic and heavy guitar sound this would be an
entirely different beast, one that would cater mostly to
doom fans. But since the guitars sound like they are the
result of electrical wiring and static, The Covered Pure
Permanence acquires certain regimental and cold
industrial vibe. Therefore, Hungary’s Kolp could also
cater to fans of the horrible industrial metal hybrid.
It is only
the guitar sound that marks the difference here. For the most
part, the structures are straight up doom, mostly played at a
conservative mid tempo (awesome in “Flickering Lights”) and
wisely recorded with a great thumping organic drum sound. The
guitar sound is too soulless to let every note reverberate so
instead the chords just rattle the music. There are instances
when all you want is to turn these songs into true mastodons of
bass. Like with the utterly simplistic but infinitely cool punk
rhythm of “Alienation”, had all those notes been blown into low
sounds this would have been killer.
It doesn’t
take much technique or knowledge to obtain a heavy sound and
when the album is presented by the label as ‘permanent death
in a sonic way’ that’s perhaps what they mean, death is cold
and so is industrial music. The
fine folks at Temple of Torturous also say that ‘change has
no meaning’ and Kolp takes this seriously. These songs rarely
experience any change.
Despite a
few changes to lightfoot black metal (Kolp turns into nothing
special when they morph into this form) speed in a couple of
instances, the songs here follow a linear trajectory. Once the
song is established this duo continuous its path to depression.
Bleak as The Covered Pure Permanence is it may take
moving a little closer to the extremes (slower or faster,
heavier or fatter, etc) to reap the real rewards.
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