Beats and yelling: Deathisthemasterofthisworld

Death is the Master of this World
Out 8^th July on New Era Productions

From the mind of Jan Kruitwagen of Sammath and Kaeck fame comes this new dark ambient project. Split neatly into two fifteen minute segments, in essence what we are presented with is a re-evaluation of ambient black metal. Paradoxically by removing any percussion – save a distant timpani rumble – it updates the subgenre with a more active, affirmative spirit. The wandering nature of tremolo driven black metal, another step removed from its metal lineage, takes on a more declarative posture, and gives it space to traverse more freely across ideas, interrogate themes, and conclude in triumphalist announcements.

Each lengthy piece is split into a series of vignettes that essentially fall into two categories. One is defined by soaring tremolo sequences, which, unshackled from any rhythmic grid, take on a more organic and free flowing harmonic direction. Underpinned by rich layers of symphonic material, minimalist metronomic drums, and subtly distorted vocal outbursts that seem to ride on the ample storm samples pulsing through the music like a heartbeat. The second is pure dark ambient, as the guitars cut out and the underlying landscape is given room to breathe. A low synth drone and whispered spoken word passages haunt the background, this creates a degree of tension which is immediately released as the guitars cut back in again. The experience is akin to a long journey through a storm, intercut by brief respites sheltering under trees and rocks before emerging into the elements once more.

The music functions like a black metal track stretched on the rack. As the momentum accrues we witness the central themes develop, but the motion is almost painfully incrementalist for anyone more accustomed to the quick turnaround of a typical black metal track. Patience is required to witness these monolithic episodes gradually unfold and link in with one another. Repetition occurs not in the traditional sense by building blocks of riffs together, but more as a way to signpost the listener to a new passage, as a refrain gradually grows more frantic and urgent before the next release of tension. Each moment largely indistinguishable from the last, but taking the journey as a whole, we end in a very different place to where we began.

Post black metal in a truer sense than music that has previously carried this label, Deathisthemasterofthisworld represents a more aggressive attempt to move black metal into ambient territory by suppressing the importance of rhythm and riff. Despite the relative stasis, the music moves with greater freedom and life as the topography of pitch, dynamic range, and measured builds in tension, like an ocean swell, dictate the underlying pulse of the music. A ritual ambient vibration beneath this elaborate orchestration the only nod to tempo. As a result the guitars and accompanying synth lines are given license to weave their way as they choose through simple yet dramatically effective music as an homage to darkness. A hypnotic study in evolutionary black metal.