CD review: ‘Anatomy Of Loss’ – Metalized

Screen Shot 2017-05-02 at 12.39.58.pngThe Crawling and from the very first moment they put their attention to the anti-idiosyncrasy caused by their approach; “The anatomy of a loss” refers in fact to an objective attitude towards an irreparable and irreparable event. Commonly, this would also be faced by interfacing with a transcendental component, pointing out that eternal dualism of human nature, in a constant oscillation between rational and mystic, but in this case the conflict resolves completely by completely eliminating the second element and emphasizing consequently the pain inflicted by it State of awareness of having to go through non-return points continuously. To enhance this concept is the striking cover created by Travis Smith , which places a man in front of a hypothetical border between life and death, the latter represented by a precipice where even light is swallowed, as well as a phrase of the band itself Which states There is no greater pain than to remember in sadness the time when we were happy .

As you may have guessed, the trip that is waiting for us to go into the 45 minutes of Anatomy of Loss will be far from easy; Beyond the concept that moves the record, in fact, the Lisburn trio draws full hands from a purely novantean die / doom, drawing seven tracks in which slender structures consist of a swift rotation of two / three riff lines Is opposed to an overwhelming destructive, asphyxiating and obsessive will dictated by the amalgam of these two genres.Given the assumptions, it is equally clear that The Crawling does not intend to orient the compass needle in the direction of innovation but merely pick up the witness dropped by the bands who brought this musical talk about twenty years ago and that in these Years are awakening from a long temporal dementia.

These intentions have been made clear since the early seconds of An Immaculate Deception .The first detail that stands out is the undeniable ability in songwriting of Ours who, apparently, have been treasuring the doctrine imparted by the years of barrage (for some members this dates back to the early ’90s) in the Northern Irish subterranean, showing how A prince characteristic, in line with what has just been mentioned, a primitive and incisive approach to the result. The amalgam of an arpeggio arpeggio and a riff death debtor of the seminal Bolt Thrower (the influence that on death will spread the work in its entirety) place the first net center, fueling expectations about the platter’s follow-up. And prospects in fact are not disappointed at all; Poison Orange ‘s Intro (with its fade-in guitar drives that explode in pure Doomian power in dealing with other instruments) maintains the promised standards, as well as the verse with moods and the refrain that dampens by increasing the rhythm Relying on the death side. The approach changes in Acid on my Skin , whose rhythms are sustained and constant but whose dynamism becomes changeable in the alternation of the verse (marked by a clean guitar) and distorted shooting, always best supported by the rest of the rhythm section .All Our Failings Plays Bullying as One of the Highlights of This Album; In this case, the song in question is most affected by death influences and shows greater complexity in the structure, proving it is the riff in tapping that cleverly catches Rainey’s bass (scanning the filling agreements) as well as the central parenthesis Overwhelming. The Right to Crawl resumes the duality exploited by the Lisburn trio that cunningly adds more air by appropriately including the black component; This is among other things taken up also on the finale of Violence Vanity and Neglect , a song that is mainly characterized by its pachydermic performance and where some of the debuting influences of the early My Dying Bride are distinctly materialized, yet readily disguised by the omnipresent imprint death. They closed with the decades of catatonic nine minutes; In this case the title is quite eloquent in suggesting the stylistic style adopted, except for the wild moments in which The Crawling accelerates, providing the ideal context for Clarke and Rainey to download their growl and screaming.

Aside from a single marginal gap due to the sound of the drum sounds (compared to the complex, the snare frequencies are less framed), The Crawling places a high quality work, considering each level being analyzed. There is further added value to be taken into account, that is, the fact that we are faced with an emerging subterranean reality which, at the expense of its relegation to a still niche dimension, shows a way of approaching the Matter doom / death unquestionably above the average. Without turning around, we are in the face of solid work and the proverbial “attributes”, which can safely make their candidacy among the best disks of the genre in question for the current year.

Drowning in horror and you will be swallowed in the darkness .



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