Remains of a Ruined, Dead, Cursed Soul (Drakkar, 1999)
Dramatic nocturnal inversion metal invades aural consciousness with screams and riffs dissonant in both tone as chords in patternings constructing intersections at irregular rhythms and harmonies form the primordial antagonism from which the rest of the album is crafted, emphasizing a strong sense of transcendence in the phrases which rise from the dying chaos of disorder to create an intimation of direction so profoundly universal in the translation of its relative motion to tokens of order that its presence alters each song to conclude in an unfinished sense of emptiness within the mind of something desiring more. As such, this is Romanticism in theme and lyrically elegant music within the rubric of black metal gnarled riffing and drop-beat throbbing time division.
Phrasing is delicate and emphasizes similarity in structure and modal potential in harmony, forming fluid verses of melodic combination which slip elegantly from guitar over the hypnotic even pulse of linear percussion, and forms the aspect most admirable of this music, which is its ancient sense of European tastes in tone and architecture that lends to this work a gothic, archeological undertone. Shadowing in the form of structurally embedded allusions is light but significant and evolves with each iteration of motif in circular breakdowns depositing the disoriented listener in a final sequence of progressions suggesting the equilibrium to a healthily perverse chaos. ANUS