Monday, February 13, 2012

Dark Metamorphisis - In A Heartbeat (Review by Stephen)

Dark Metamorphosis - 
In A Heartbeat
by Stephen Latimer

On a personal level, this album has struck so much to my soul, it’s almost perverse to actually talk about this on a public format. The Count must be a bastard step-brother of mine, or quite possibly my doomed enrage doppelganger (40). I’ve never met anyone that was quite obsessed with the video game series that Dark Metamorphosis is name-sake from, let alone the song titles. For those who have no clue to what this may be, figure it out on your own, or perish in your ignorant bliss. To the Count: L,UL,U,UR,R+ATT or DEF.

Down to the brass tax, this soundscape journey is veiled in that hunting tone we all hope to expect from black metal, but only are reminded how Dimmu Borgir single handedly destroyed that endeavor. At the heart of what’s “true”, there is fowled remnants of what the 80’s scene actually conjured into a favorable style, yet forgotten itself by glazes of synthesizers and classical orientations. Somehow, bewildered upon me, Count Draclacarde manages to blend swiftly into the night the majesties of classical tones, hallowed terror, and buzz sawed guitars of yesteryear into an incantation worthy to sit alongside Burzum’s “Det Som Engang Var”, Craft’s “Terror Propaganda”, and Horna’s “Envaatnags Eflos Solf Esgantaavne”. “In A Heartbeat” honestly sounds as if Nocturno Occulto decided to remake Satyricon’s “Dark Medieval Times” singlehandedly after listening to Bathory’s “Blood Fire Death” (song), and “Enter the Eternal Fire”.

It’s fascinating that the title of the album is actually the name of the favored song of John Murphy’s composed title featured in the film “28 Weeks Later”. As for myself, I actually thought this song, along with the score of the film, was actually very ambient in black metal form. So it’s actually a hellish coincidence to me that my favorite game and favorite musical score are actually blended into an album of my favored genre. This daunting composition of dire hope can actually be heard by the Count’s strapping ode, at the tail end of “Avert Not Thine Eyes”. This track is also infused with a brilliant rhythmic riff that’s one part groove, one part requiem; followed heavily by a simple chugging solo that is full blown nocturnal fucking hated.

Another ominous praise to those once forgotten, is Ludwig Von Beethoven’s “Moonlight Sonata”; again a lullaby that has haunted me in lustful serenade for ages since first hearing it, oddly, in another video game of the same era. This is actually preceded by a small piano composition that I am actually unfamiliar with, however gives off that nostalgic feeling of the score of the “name sake” game, but am sure is actually an original. All of this can be found in “Welcome to My Humble Tomb”. Oddly, probably the oddest yet greatest ode of all the covers in the history of covers is the bonus track Dan added. Its a cover of Ted Nugent’s “Cat Scratch Fever”. Here, you can hear the Counts precise execution on the guitar, displaying he can actually play beyond the tremolo, however, can craft a unique rendering. At first, you ask “is this fucking real, am I actually hearing a Black Metal version of Ted Nugent”, and then after hearing it you find yourself saying “That’s an honorable metal salute to a Rock icon”, and feel yourself throwing the horns out of respect as well.

A ravishing intro to “Person of Lordly Caliber” is highlighted with high octave, full notes very favorable to some metal bands pre 80’s, maybe “Judian” or “Maidenesck”. Either way, it’s not a usual commodity you’d expect out of your everyday BM project. This rumbles off into a hopelessness of a night shade shrieking in the fog, to a succulent solo. This beauty is pulverized by a groovy riff similar to the one in” Avert Not Thine Eyes” that is laced with electric wizardry that is truly spellbinding. It comes full circle with the gloomy intro only to leave me heartbroken for more.

All these examples are honestly just an emotional explanation what happens within these glorious audio hexcrafts, and are only interpreted by an individual that is drastically moved by the outwardly vibrations. It’s these emotions that are triggered, like in “Symphonic” compositions, which are hidden in plain sight. In these triumphant occultic raptures, that makes me tear with joy. These sonicscapes that are sorrow in nature, that bleed the hope of possibility “truly” leave me breathless. On an ending note, let us go out this evening for pleasure. The night is still young!

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