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Sin embargo, hay que reconocer que mucho de lo documentado triunfalmente deja de existir sin pena ni gloria. Muchas instituciones locales, como la Funtac en el Acre, tuvieron un breve periodo de aportes notables al desarrollo sustentable y luego pasaron a ser insignificantes. Entre las causas se han identificado algunas:. No existe un paradigma bien definido, concensuado y atractivo de desarrollo sustentable para la Amazonia.

En efecto, gran parte de las dificultades del concepto de desarrollo sustentable parten de lo que algunos llaman la "trampa conceptual" de aceptar que desarrollo sustentable es inseparable de crecimiento 2. Si la propuesta de desarrollo no lleva en cuenta todos esos intereses conflictivos y si no los armoniza, o por lo menos los concilia, termina fracasando.

Esa es la historia del zoneamiento en la Amazonia. Los riesgos de privatizar recursos naturales renovables. Se espera, por lo tanto, que la alza del precio del agua afecte a los campesinos de las tierras costeras y andinas marginales. El efecto combinado de ambas leyes, favorecidas por las nuevas inversiones en carreteras, puede crear un nuevo flujo de migraciones de la Costa y los Andes hacia el Amazonas. Manejo del bosque para bienes y en especial para servicios ambientales. Por lo tanto, para hacer posible el manejo forestal sustentable es esencial que los servicios o externalidades ambientales generados por los bosques se tomen en cuenta y sean pagados por todos aquellos que se benefician de ellos.

Los servicios que los bosques proporcionan son bien conocidos. Ni un centavo se dedica al manejo de cuencas. Acabar con el criterio de que la naturaleza es tierra improductiva. Los argumentos del economicismo de corto plazo imperante en el mundo ha contaminado, en la Amazonia, a aquellos que procuran la justicia social para los que no tienen tierras. Bajo esas premisas es posible deforestar un porcentaje muy significativo de la Amazonia sin amenazar los servicios ambientales. Comunicado de prensa del CIAT em septiembre Cuando un secuestro es buena noticia. Reforma , v. Fertility factors limiting the growth of pioneer trees on upland fallow soils of the Amazon basin, Iquitos, Peru.

Toronto, Ecological heteregoneity and horizontal zonation of agriculture in the Amazon floodplain In: M. Woods eds. Frontier expansion. Florida, University of Florida Press, , p. Aprovechamiento del barbecho forestal en areas de agricultura migratoria en la Amazonia peruana Lima, Revista Forestal del Peru , v. The future of the Latin American Forests. The right climate for carbon taxes: creating economic incentives to protect the atmosphere.

Forest resources assessment tropical countries. A simple plan to stop global warming. Princeton University Technology Review , p. Floods of fortune: ecology and economy along the Amazon. New York, Columbia University Press, Amazonia without myths. Tropical dry forests: the most endangered major tropical ecosystem. I also appreciate a lot of other non-Italian directors, but I think the Italian ones particularly Fulci, Margheriti, Bava, Deodato, etc Although in Italy we have the headquarter of the Catholic Church, I must admit that we are a strange and unusual people.

How did you choose movies for the album? And why did you stop only on seven? I would be happy to know that there are song or two left and you have plans to release something else soon. The choice was made, as I have already said, according to our tastes, and by the year. Nothing about modern movies but we prefer old scripts.

Aside from this , we find that the acting, actors and settings of old movies are very fascinating and of great inspiration. We first selected the movies for the record, and then we composed the music. I'm sorry Aleksey, but the seven tracks included were the only ones we composed. We are already working on some new ideas, news will coming soon. There are no clear plans at the moment. We are waiting for the inspiration We are still looking for a label that is interested in printing the vinyl version of There are new ideas for songs.

We'll see!!! Someone said that in order to respect something you must first be intimidated. Maybe me… Now I'm too old and I do not remember well. My first horror movie may have been a nightmare as I slept Why is "Lizard Woman" instrumental track? Inside the song there is also an homage, which wants to be a tribute to one of the greatest Italian soundtracks composer. But I do not mean to say anything else, I leave you the taste of finding it. We would like to thank all the guys who follow us for so many years and are always pushing us to do the best.

See you around for a beer guys! Thank you so much Aleksey for your interest in our music and support. We also wanted to wish you good luck for the great initiative you had for Doom metal Lexicanum. Honored to be part of it. Take care!!! Outlaws Of The Sun Nov. Ispirati da temi horror, da argomenti di natura mistica e dal famoso autore H. Lovecraft, la band inizia a lavorare seriamente solo nel , quando incidono il primo demo di quattro tracce. Nello stesso anno, il 6 luglio, Bretus collaborano con la band sarda Black Capricorn per uno split.

Questo terzo album di Bretus vede la band totalmente immersa in un crudo approccio con il classico Doom Metal avente sfumature Stoner, con una chitarra che sicuramente ama mettersi in mostra mediante oscuri riffs, accompagnata da una ritmica che dona una base solida a tutto il complesso dimostrandosi una colonna portante. Una band giovane rispetto ai predecessori praticanti lo stesso genere musicale, tra le quali vi sono esponenti importantissimi della scena Metal.

Da annotare il fatto che forse Bretus sia una delle rare moderne bands che fanno onore al Doom Metal, portando avanti tale genere musicale senza alterarlo in maniera esagerata e significativa, ma neanche bloccandosi alle solite matrici e schemi. Purtroppo sono arrivato a diffidare dei gruppi russi con copertine rivedibili. Per fortuna che, di tanto in tanto in luoghi ben nascosti, danno i natali a progetti insospettabilmente clamorosi come Mohraang, che arriva nientemeno che da Nachodka, ossia dai confini del mondo.

Superata la diffidenza iniziale nei confronti della grossolana copertina, scesi a patti con l'ennesimo teschio davanti all'ennesimo corridoio di aculei puntuti che porta all'ennesimo occhio di qualsiasi cosa sia che dal a oggi sembra sempre e comunque il Sauron di Peter Jackson, parte una mina devastante. Essenziale, esattamente come questi trenta minuti di musica. Aristocrazia Webzine Oct. Hailing from Italy, horror inspired doom band Bretus have released their new album, …from the Twilight Zone via Endless Winter.

A concept album based around seven legendary horror movies. However, the most impressive moment sees the doom drop away switching to sorrowful guitar melody before building back up to the heaviness. While the likes of Danza Macabra have a more gothic, melodic style. Different but in a good way as it helps break up the doominess of the record. As far as putting you in the right mind frame, …from the Twilight Zone does a great job. In questo varco, non poteva non entrare a vele spiegate la musica, sia come elemento di decorativo accompagnamento sia, soprattutto, come moltiplicatore di emozioni, tanto che non sono rari i casi di colonne sonore altrettanto memorabili dei film che hanno accompagnato.

Aaah, che bella scoperta il disco di questi doomsters calabresi! Not trying to remake doom in their own image, but conjuring an eerie and engaging take in conversation with the masters of the form. The Obelisk July Mi ritrovo qui pronto a scrivere della nuova fatica dei Bretus intitolata " From The Twilight Zone", ma prima vorrei fare due semplici considerazioni.

Sono comunque contento che un personaggio affidabile come Gennady della Endless Winter non se lo sia lasciato sfuggire. I Bretus non sbagliano un colpo e rientrano in quel giro di formazioni italiane che all'estero funzionano. Ancora una volta i testi si nutrono in maniera costante del filone letterario lovecraftiano e di vari altri cinematografici. Vi suggerisco piuttosto di aprire il cassettino del lettore CD o di far girare il vinile. Siamo dinanzi a un'uscita che non necessita di un fiume di parole, ma solo di essere ascoltata e riascoltata, godendo sia della moltitudine di minacciose ombre sia delle sparute flebili luci che la compongono.

I Bretus provengono dalla zona del crepuscolo e sono abituati a risiedervi: voi sarete capaci di fare lo stesso? L'incontro con " From The Twilight Zone" potrebbe aiutarvi nel trovare la risposta a tale quesito. Nascono nel a Catanzaro, ma trascorrono ben 8 anni prima della vera e propria uscita allo scoperto con brani che finirono in alcune raccolte, demo e compilation. Verrete trasportati in un viaggio tra riff pesanti ed atmosfere lisergiche, queste ultime anche arricchite da tastiere.

Certo non mancheranno delle fioriture stilistiche proprie del gruppo di Catanzaro. Notevoli le prestazioni vocali di Zagarus che riesce a trasformare il semplice cantare in una narrazione trascinante, onirica e spettrale. Un vero e proprio capolavoro. Spettacolari inoltre gli arrangiamenti su tastiera e chitarra, sia elettrica che acustica.

Fatto veramente molto bene. Steel On Fire Aug. At the moment it seem the topics Nagaarum both the band and its sole member are called Nagaarum touches in it's lyrics are more related to science and space, I'd see its music more adapted to topics about the human psyche, mental illness, maybe even touching the proverbial Hungarian predisposition to suicide.

The album has a few weak points, too, but overall is a tremendous new display of sick, ugly, experimental and expressive Black Metal, try it yourselves. Pest Webzine Aug. Rock Overdose Aug. Nikdy nehovor nikdy. Slovak Metal Army Aug I Graveyard Of Souls passarono sulle nostre pagine un paio di anni fa con "Infinitum Nihil", disco che aveva qualche problema di produzione, ma che metteva in mostra le doti della band.

D'altro canto, la batteria si limita a seguire l'andamento dei brani, a volte con pattern un po' troppo elementari, altre riuscendo a sfruttare bene i tom per donare maggior vigore ad alcuni passaggi, nonostante la produzione talvolta tenda a non darle troppo risalto. Aristocrazia Webzine July Niente preamboli per "The Dead Is World" e altrettanti voglio farne in questa recensione per rendervi l'idea: dalla prima traccia la titletrack si parte subito con note di chitarra che danno l'impressione di essere in medias res e che il lavoro cerchi di avvolgere l'ascoltatore da subito, con il suo incedere lento e maestoso.

El recuerdo de Black Sabbath, Saint Vitus y Pentagram es inevitable, pero al comenzar a cantar Zagarus las neuronas se inundan en el Danzig solista de finales de los ochentas. From the Twilight Zone arranca con "Terror behind the mirror" para asestar un golpe certero a nuestro deseo doom incontenible que nos precede por los materiales anteriores de Bretus, pues su figura cortante como navaja ritual logra cortar las venas para saciar la sangrienta sed del maligno. Sin embargo, Earthquaker desea rescatar y profundizar lo alcanzado en el tercer disco de Bretus a partir de su primer single llamado "The creeping flesh".

From the Twilight Zone. From the Twilight Zone merece ser escuchado con calma para ir descifrando todo lo que esconde tras las capas de ruido, es necesario ir cavando en sus terrenos para descubrir al verdadero monstruo que hay en su interior. Earthquaker July Attorno la musica si presenta in una forma piuttosto arcaica, dovuta a una produzione secca e scarna che a dirla tutta mortifica lo slancio delle singole composizioni.

Non si sa quasi nulla degli Abysskult, eccetto che sono russi e suonano funeral doom. Musicalmente, immaginatevi di essere trascinati in un incontro a cui prendono parte i connazionali Ea, Comatose Vigil e Abstract Spirit. Talvolta essa viene adornata da elementi in stile dark-ambient, talvolta idealmente corrotta da effetti inattesi lo scacciapensieri di "Over Cold Tombs" e campionamenti. Mohraang a name that sounds like a large piece of metal being struck is another dark and moody one man project from Russia, who last year released their first, and so far only, record.

Released on CD by Endless Winter a label whose 'Only Doom Metal Label' motto always seemed incredulous given, you know, all the other Doom Metal labels, until I realised they were probably trying to state that they only do Doom Metal, which is a laudable aim , 'Underworld Of Khorrendus', is a 33 minute fullish-length slice of atmospheric Dark Ambient Doom. The 6 tracks are all unnamed, and flow together seamlessly as a complete piece. The CD artwork pre-empts a theme of minimalistic darkness, with a four page booklet all in black and dark greys, the slightly naff cover artwork complimented by not one, but three different band logos of various derivative styles.

Fortunately, I am not an art critic, but just a music fan who occasionally gets set loose on a word processor, and in this case, the music, whilst keeping with the sparse and blackened atmospheres leaves the slightly shaky qualities of the presentation behind. The first record that came to mind as a comparison is Goatpsalms last release 'Downstream' as it shares some similar elements of slow and atmospheric bleak soundscapes and percussion.

Think 'Stream From The Heavens' if Thergothon had turned their flanger pedal off so make the record sound truly heavy. If you are a fan of all that is slow, simplistic and sparse interestingly that is my precise definition of Funeral Doom - although the term has now been applied to so many bands that play fast bits that it has lost all meaning then I would definitely give Mohraang a try. Just don't go expecting any kind of variation on mood and atmosphere, as 'Underworld Of Khorrendus' is quite intentionally monolithic in its dedication to a single sound - and when it pulls it off so expertly, who am I to complain?

Bretus, the Italian heavyweights of Heavy Horror Doom, return from the unknowable depths of their dark dwellings with their third full length album, '…From the Twilight Zone', which, much like the seminal tv show alluded to in the album name, is an anthology of scary stories. That's right, this is a concept album, each song being inspired by some form of the macabre. Whilst previous album, 'The Shadow over Innsmouth' was based entirely on works of the master of cosmic horror himself, H.

Lovecraft, this most recent release draws on an eclectic array of sometimes obscure horror, to create a chilling cornucopia of Doom-filtered curios. Horror fans may recognise the source material of certain tracks with relative ease, others may be found, with some difficulty as this reviewer discovered , using google, whilst a number can only be guessed at by anyone not possessing an encyclopaedic knowledge of scary movies.

Either way, it's fun trying to figure them out. Fittingly, opening track, 'Terror behind the Mirror' begins with the sound of pouring rain and the plaintive cries of a crow, or perhaps, I dare quoth, a raven. An acoustic, slightly folky, riff follows, gently pulling the listener into the nightmarish world of Bretus before unleashing a vicious Doom riff. When the vocal starts, though, that's when the fun really begins. Zagarus's voice is wonderfully dramatic and theatrical in a way that perfectly complements the material; imagine how Freddie Mercury might have sounded after a week holed up in an abandoned cottage watching a perpetual loop of Hammer Horror movies and dropping acid, and you might be somewhere close.

As fun as the concept behind the album undoubtedly is, there's far more to enjoy here than just an interesting idea; the impressive vocals are backed admirably by an extremely tight band. Riffs so monstrous they'd have struck fear into the hardened hearts of Hammer stalwarts Christopher Lee and Peter Cushing abound, whilst crunching bass lines and powerful drumming create an accomplished sound, each instrument complementing the other to create something greater than the sum of their parts. It's hard and heavy, but there are moments of respite here and there with acoustic passages, organ effects and classic horror movie voice samples, all of which add to the Doom-laden atmosphere the album creates.

Zagurus's vocal is heavily accented, but this actually adds to the mystique. Would Bela Lugosi have sounded quite so iconic if he'd spoken with a Barnsley accent? Everything about this album just, well, works. Whether you're a horror fan or not, the music speaks for itself on this album, and it can be enjoyed by Doom fans that may never have watched a horror film in their lives. Whether such Doom fans exist is perhaps questionable, but if they do, and it's you, you will still enjoy this album.

If you are a horror fan, though, particularly if your interest extends to the obscure, long-forgotten flicks of the early 70s, the type they don't make anymore, you'll have real fun with this gem. Long after masterful final track, 'Lizard Woman' draws a red velvet curtain on '…From the Twilight Zone', you'll have the unique sound of Bretus echoing in the fragments of your mind. I Bretus riversano tutta la loro passione per la causa e il sacro mondo doom metal per la terza volta su lunga distanza questa volta sotto la russa Endless Winter , lo fanno al top per quanto concerne ombre e songwriting.

I Bretus sono una freccia non importante ma importantissima per il panorama doom metal nostrano, evitare di fare la loro conoscenza sarebbe davvero un piccolo insulto rivolto a noi stessi cultori del genere. Loro lo sanno bene, voi potrete dire lo stesso? Sia io che LeonardZ fummo piacevolmente colpiti dal loro debutto "Inside". Da quella prima uscita sono trascorsi la bellezza di otto anni, una lunga ed estenuante attesa finalmente giunta al termine con il concepimento del secondo album a titolo "Conceiving Hell", rilasciato attraverso l'etichetta russa del solerte Gennady, la Endless Winter.

I musicisti in questione sono esperti e profondi conoscitori del panorama doom-death metal. Ora lo confermano in quello che, in tutto e per tutto, potremmo considerare il naturale successore; infatti, sembra che il tempo non si sia fermato e fra l'uscita dei due dischi non sia trascorso che un attimo. Con estremo piacere affermo: bentornati Decemberance! To get a bit further into the details, the new release is a conceptual album, where each song is inspired by a classic horror film.

Bretus, or more specifically, guitarist and vocalist Ghenes, vocalist Zagarus, bassist Azog, and drummer Striges are the ideal band and players for such a grand undertaking in my opinion. I say such because Bretus, who are in their seventeenth year of existence this year, have always steeped themselves in occult images and lyrics. It suddenly breaks into a monstrous riff and tumult of drums and organ stills.

Once on keel, some very animated vocals cue in, as the music reaches a very Sabbath-y vibe. See, Black Sabbath are where most of our doom originates and the boys from Bretus are clearly disciples of such. The latter two are just stellar, stand out songs with Murder being a very uptempo throwback to the days of proto-doom. It powers away like some careening locomotive and then breaks into fiercely bluesy grooves. The Creeping Flesh starts with a rather appropriate film sample, before delving into somewhat furious metallic styling. That, of course, is a damned fine thing, too. The section where the vocals take the spotlight, while the music dies down, becoming barely audible and sparse is grandiose.

Another heavy cut that delves into slower-paced doomy excess, laden with beautifully melancholy melodics. Thunderous bass lines rumble throughout the song, before it takes on an enthralling rhythmic path. Lighter acoustic touches enhance things nicely, as do the organs and synth flourishes. They enter heavily mid-way after some fiery guitar antics. Oh, and the instrumental designation maybe challenged since there are some very basic, airy and eerie, trippy as hell vocalization touches laid down for a brief moment. Just as they have always done, Bretus are the living, breathing embodiment of modern doom with traditional influences.

They take inspiration from what has come before and instill it with their own superb styling. The result is another intense, powerful album from the always bad-ass Bretus! Riff Relevant June The guitar takes center stage with a riff style and tone reminiscent of The Gates of Slumber and Place of Skulls while the rhythm section provides a basic but sturdy foundation.

In addition, the pulp horror theatrics are aided by a flamboyant vocal performance that is a dead ringer for Reverend Bizarre. These elements were in full force on Bretus albums past but …From the Twilight Zone may be their strongest usage of them thus far. The vocals also sound a lot more confident than before, reinforcing the idea that the improvements are based on more than a mere superficial makeover. It also helps that the songwriting has a lot of variety to it.


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Also, a Tony Danza-themed doom band called Danza Macabra seriously needs to be a thing…. Bretus may not be at the heights of the doom metal pantheon just yet but the improvements on …From the Twilight Zone suggest that they may well be on their way there. Fans of the genre are sure to find this to be a pleasant listen that highlights everything there is to love about old school doom.

Indy Metal Vault June Pero le faltaba el poder y la consistencia de su antecesor. Bretus han vuelto a ser una verdadera potencia dentro del mundo del Doom Metal. Los ritmos lentos que tienden a irse hacia el medio-tempo, fluidos y con mucho groove. Puro Ruido June La parte clean dalla multiforme interpretazione, si trova a suo perfetto agio tra le melodie che vengono a susseguirsi nei sette brani proposti spesso alternati nel loro interno da arpeggi e da atmosfere inquietanti.

Rock 'N' Roll Monuments June Ritornano i calabresi Bretus, una delle migliori band italiane in ambito doom.

Set the Language

Vitus e Pentagram. Per fare questo genere minimale e renderlo interessante devi avere delle specifiche caratteristiche che non sono alla portata di tutti. I Bretus con questo disco si confermano un ottimo gruppo doom che non sbaglia un disco. Iyezine June Brani articolati dal minutaggio medio di 5 minuti si susseguono talvolta iniziati da arpeggi, altre volte da schegge filmiche o brusii di presenze primordiali; i brani ci immergono in atmosfere che la band di Catanzaro riesce a organizzare in modo magistrale.

Analizziamo per es. Siamo di fronte ad un album intrigante pieno di stile, di idee e ben congegnato. A giugno fuori per la russa Endless Winter. Salad Days Magazine May Doombringer June Graveyard of Souls' other member, Raul Weaver, turns in a fittingly aggressive if run-of-the-mill performance on harsh vocals, utilizing some cool panning and echo effects now and then. It's immediately evident that Endless Winter is a fitting label home for the band's style, which holds few surprises but a lot of enjoyability. Melodic themes weave in and around each other throughout, sometimes two at a time beneath a vocal line.

The second track 'Entre pedazos de locura' really showcases Graveyard of Souls at their best. At times, the arrangements remind me of a "lite" take on modern Esoteric. Other moments start to resemble a sped-up Type O Negative; 'Cementerio de ilusiones' for example. Easy comparisons might imply that Graveyard of Souls aren't the most original of bands, but these songs are among the album's most memorable. The album leans a bit toward monotony despite a playing time within tolerable range of whole-album listenability.

The album notes that the songs were recorded across a multi-year time span, including times coinciding with their previous album releases. However, there is no obvious difference in production from track to track, and no track repeats here from prior albums. It's ruthless, but accessible. It's tuneful, but crushing. It's an oppressively bleak album Decemberance are a five piece band hailing from Greece. They have been active since , and so far have produced three demos and two full-lengths, including this latest 'Conceiving Hell', being released by Endless Winter.

Eight long years have passed since 'Inside' was released. The music has elements of horror and insanity. One thing that has not really changed is the length of each track. There are only four on this album, but each one is over seventeen minutes long. It is a huge amount to digest when listening to each song. I found each song had its ups and downs, some odd samples, and at times I did find the direction hard to visualise. Maybe these were the parts where horror crept into the music - I found the acoustic passages brilliant and really enjoyed the style, sound and feel of these parts.

Filled with emotion, and the added sound of cellos just gives you the feeling of pure sadness. Because each song is so epic in length I thought I would write about the actual album as a whole rather then each song separately. The strengths of the album for me are the ones where the music is allowed to breathe. The acoustic parts, the flowing melodies with cellos, open up your inner thoughts leaving you to ponder the outside world. To get the balance right is hard and to keep enough riffs and tempo changes in the right places needs to be spot on to keep the listener interested.

I wandered off in a few parts I must admit, and found it hard to stay completely focused. The guitar parts, when heavy, are solid enough. They pay homage and stay true to the genre, and you can dig the vibe of old-school running through them. The tone of the guitars is nice, and Chris and Nikos blend effortlessly together. The sound is crisp and never gets messy or over-complicated.

Some of the riffs are not catchy or mind-blowing, but still serve justice to the songs. The drums are varied and change the tempo and direction of the songs. They are punchy and are mixed very well. Yiannis also provides the vocals. These are deep growls that hold everything together, whilst other shrieking takes you to different places.

Aggelos's bass lines are solid enough, and it would be nice to hear more of his parts flow more openly throughout. It is epic in parts, and grows on you with every listen. IyeZine May Rockhard May Ci hanno impiegato otto anni i nostri per rilasciare un nuovo album dopo che il debut 'Inside' era uscito addirittura 12 anni dopo la loro fondazione. Dicevamo che 'Conceiving Hell' include quattro song, tutte che si aggirano sull'estenuante durata di 18 minuti.

Si parte con il robustissimo techno death di "The Scepter", che mi lascia un attimo perplesso di fronte alla proposta della compagine greca: dopo qualche minuto di tortuosi giri di chitarra, ecco che i nostri fanno in modo che chi li ascolta sia inghiottito dalle fauci delle bestia, con un sound catacombale.

Invece, inaspettatamente ecco apparire dei riffoni death e delle growling vocals che hanno il merito di cavarci fuori da quell'impasse spaventosa. I primi venti minuti se ne sono andati ma che faticaccia: parte la chitarra acustica di "Departures" accompagnata dalla struggente melodia del violoncello, poesia per le mie orecchie, un po' meno quando il robustissimo riffing del quartetto ateniese fa in modo che cali improvvisamente una notte senza stelle in una splendida giornata di sole.

Il trittico del doom per eccellenza l'abbiamo rievocato in toto, per descrivere un lavoro che se fosse uscito nei primi anni '90 avrebbe sicuramente rappresentato un must per tutti coloro che seguono il genere. Ecco, i Decemberance potrebbero essere etichettati come un insolito ibrido tra l'Angelo Morboso e La Mia Sposa Morente, facile no da intuire a questo punto il sound granitico dei nostri? Di sicuro il suono del mare della conclusiva "Sailing Bel rischio si sono presi i Decemberance, a voi l'ultima parola The Pit of the Damned May The Blind will Lead the Way.

AfterNoiz May Dioses Del Metal Apr. The deathly moments reflect the angry side of depression well. Against the Silence Mar. A tizenharmadik, "D. Robert M. Rozsdagyar Apr. Tak si vyberte. Nah, I'm not even going to try to sell you Nagaarum as any sort of Doom project. It's one of those oddities that lives outside our particular world, sometimes flirting with it, sometimes taking elements of it, but generally doing its own thing.

And still, we've had the Hungarian band on our books for a long old time, based perhaps, mainly, on the joint release with Funeral Doomsters Dreams After Death before my time, to be fair, so I don't reallly know the motivation. But whatever else Nagaarum may be - or not be - it is, at least, consistently interesting to anyone with a passing interest in the underground. And so Once again released through GSP - this time in conjunction with Endless Winter and Outer Line - it's still not an obvious attention-grabber. Trees silhouetted against different-coloured skies, a faded, almost-invisible, logo and title for the cover, and a booklet mostly printed in Hungarian make for an obscure and understated package.

That extends to the track titles - obviously, chemical elements, but not an obvious list or combination, and with the lyrics being amongst the untranslated information, not easily decipherable as to meaning. I didn't want to guess especially not incorrectly! So: the album is an homage to the 'D.

Plus, of course, from the unstable Actinides block, 'Md' is Mendelevium. English translations of the lyrics are available on the Nagaarum website. So, it's more of a loose-linked association than a full-blown concept, but one that certainly explains something of the "Stoner" idea - to be honest, if a musical exploration of chemical elements and their natures doesn't provoke memories of artificially-stimulated late-night existential musings, it's hard to think what would.

Though, even then, it's not an entirely weird idea: there's clearly a certain correlation for each element, depending on how volatile, reactive and destructive it may be, that lends itself to a baseline for musical interpretation. I don't say this very often, but, for my money this whole album would have been fine - possibly even better - as an instrumental.

Not that the vocals, a pleasant enough mix of male clean and harsh voices, are bad. They're far from that, but - as ever - in native tongue, they simply add a layer of sound rather than meaning to non-Hungarian speakers. It's more that the real beauty of the album is in the surging dynamics of the music.

Sure, it's best to know a bit of chemistry to get the best out of interpreting them, but if there's one thing Nagaarum does brilliantly, it's blend together their various diverse elements and instruments to create an eclectic, yet consistent, whole. The musicianship, as always, is top-notch - particularly the percussion: for a solo project, being an experienced drummer makes a huge difference to having to use programming. But there are also deft, spacy touches of keyboards steering the melodies, distinct basslines mingling with the layered and satisfyingly heavy lead guitar lines, and a crystal-clear mix bringing them all together, all of which turn the basic idea into a very solid and well-executed actuality.

At just over 40 minutes, 'D. There's a certain amount of doominess to be found on tracks like the solemn 'Ar', but the bulk of it steers a "Post-Black" path of ambience, atmosphere and aggression that actually deserves to have quite a wide appeal, sitting somewhere on the spectrum between Agalloch and Wolves In The Throne Room but without the long-windedness of either.

Like all Nagaarum albums, though, it's a singular beast, once again occupying a very different niche to the rest of the discography - I recommend taking it entirely on its own merits, whether or not you've encountered other works by the band. It's not Doom, but - regardless of you want to call it - it's still a damn fine trip into what the underground has to offer. Mi is, vagy pontosabban ki is az Nagaarum? Rockstation Sep. Nagaarum - D. Femforgacs Mar With this release, Suffer In Paradise gives a therapeutic glimpse into the world of slow, crawling Doom, one whose home lies in longevity.

The songs are tragic and woeful pieces, only half of which make it under the ten-minute mark. While most of the songs are drawn out, crawling pieces of Doom, the track 'Suffer In Paradise' picks up the pace a bit - its approach reminiscent of My Dying Bride, at least as far as the riffs are concerned. All these efforts across 'This Dead Is World' are mostly successful, but some are muddled by the abuse of a few melodic themes, and what I would call the tasteless use of keyboard in some spots. The natural, and raw sound of all the instruments is one of the most notable things on the album.

The distortion on the rhythm guitars gives the chords a crushing feel, and the reverb on the lead guitar parts hits just the right balance, making the soaring, but deliberate melodies sound distant enough to evoke feelings of tragedy, while still standing firm and clear in the mix. And while the bass guitar seems to be lost for the most part as far as distinctiveness is concerned, the drums are quite coherent.

The combination of minimalism the drums use, and their excellent treatment on the soundboard - particularly on the cymbals - makes for pleasing percussion in the arrangement. What's most notable are some poor piano interludes, like towards the end of track one.

These could be called minimalist, or atmospheric, but in my opinion they are painfully simple, and uninteresting. A few other interludes follow in these footsteps in much the same manner, whether they be on the settings of pipe organ, choir, or piano. This is not to say the album would be better off without these arrangements, but that the album would benefit from a more deliberate, and tasteful use of its keyboard effects. Vocal-wise, Suffer In Paradise's singer could stand to show more variety, as the vocals hang on exclusively growls, but regardless, their placement and usage is appropriate, and I found myself entertained by their booming sound and slow rhythms.

The growls follow behind the music, never drawing too much attention to themselves, often taking quite long breaks while the instruments play by themselves. There is a good bit of bass to their tone on certain words, but they are still enunciated well.

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One salient thing about 'This Dead Is World' is its longevity, which isn't quite justified. Repetition is a key feature here, and certain songs, notably 'Somnambula' and 'Insect', seem to squeeze their main melodic themes as much as possible. The melodies themselves are great, but their repetition leaves me bored after a few minutes, and usually by this point the song is only halfway over. Thus, 'This Dead Is World' may not be an album to actively listen to, but its beautiful melodic approach is unforgettable at certain moments.

Cambian completamente de registro con el corte Somnambula. Tema con 14 minutos de desarrollo que no se hacen largos ni tediosos. Metal Brothers May Una bellissima sorpresa questo album dei Suffer In Paradise, autori di un funeral doom dal notevole impatto emotivo. Un brano meraviglioso come Somnambula depone insindacabilmente a favore del talento compositivo dei Suffer In Paradise, i quali compongono il disco che quelli come me vogliono ascoltare quando vanno alla ricerca di una consolatoria catarsi, tenendosi alla larga da sperimentazioni e tentazioni droniche, da assimilarsi invece con altro spirito, e lasciando spazio ad un sound lineare quanto efficace.

Iye Zine May Ah, Endless Winter Records. Proof positive that Russia has some good doom metal labels. This time they've signed a band from Spain, a two piece that has put out a full length previously. Instrumentation wise, it reminds me after many spins of Forest Stream and the like with the wintery, icy synths and lead guitar patterns. Synth voices abound as well on this disc, and many of these tracks have TONS of instrumental passages. Followup cut 'My New World' continues things in fine fashion, and I must say it's nice that the synths don't overpower the music, rather it blends in quite nicely to times where you have to really listen to hear the synthesized passages.

Female vocals accompany the death vocals in a few spots, one of only two tracks to feature them more on that in a minute. Track 4, 'Mirrors Of Pain,' is where we start to see a downward decline in the album. Some odd synthesized choir like voices rear their heads, and also here some of the guitar work starts to sound quite a bit familiar. Still, it's a decent track; the synth voices not distracting too much from the overall proceedings. It's track 5 where things don't sit well with me, as 'Masticatione Mortuorum' has very odd female vocals right behind the death styled ones, and are a bit too "syrupy" sounding for my taste.

Probably my least favorite cut on the disc, also noteworthy are the odd "alien" like synth notes towards the middle of the track. Still, it's not a bad cut, while followup 'Poisoned Air Theory' contained more of the weird, alien like synths. CD ender 'Infinitum Nihil' definitely took a few minutes to right itself, especially with the odd guitar and synth passages. Probably a bit too long at 9 minutes and 22 seconds; much of this could have been cut out though you'll probably enjoy a lot of the instrumental passages.

Like most doom bands with longer songs, the vocals can tend to take a back seat to longer instrumental only passages, but it seems while there is quite a bit of enjoyable material here, this would have been a much stronger effort if things had been "tidied up" a bit. Vibration of Doom Sept. This being their first output is a really solid effort, and I could see these guys becoming much bigger than they are right now.

Long songs abound folks, and I can see where some tracks might need a bit more variety for their length, but they do create nice, enjoyable soundscapes. The vocals are very harsh death metal style, as you would expect. I will say this about this band. Every song has a fantastic finish. The mournful lead guitar work takes a rather different approach as far as guitar work of this sort goes, choosing to rarely ever venture into the higher note range, save for the well crafted lead solo or the instrumentation ending the track.

The title track reminded me a bit of Evoke Thy Lords, with the somewhat stoner rock laced riffery, though the sudden and rather jarring shift to heavier notes here was the album's biggest downfall. Hey, all is not perfect here! Still, there's quite a bit to enjoy on this almost 12 minute track, as there damn well better be! They also can do some sick, heavy and dark crushing doom, like on followup 'Flowers On My Grave,' which shows a better transition phase from more melodic and melancholic to dark and dreary doom. CD ender 'Release Me' is no slouch, though, containing some of the most diverse amount of instrumentation of any cut on the disc.

This 11 minute track does have a bit of a rough start for the first minute and a half or so, which lost a few points, but they right the ship rather quickly. This track ALSO has the distinction of containing a TON of instrumental passages, so live I hope the vocalist can entertain himself for quite a few minutes! All in all, a solid effort, and it proves why Russia is no fluke when it comes to solid masterpieces of doom metal.

Solitude Productions isn't the only Russian doom label that can crank out the prizes!! This band was formed in April All the participants of the group knew each other for a long time, including other musical projects. It started with Vyacheslav Gromov bass-guitar and Alexander Udalov guitar proposal to play together.

I had some music material, and it was the starting point for our work. About half a year we played with a drum machine, and then a drummer Konstantin Chuykin joined us. Now we can to play live music. At that time, there were no such bands in our area and somehow it played into our hands. The band has existed for two years, accumulating and honing the material for the first album, before Alexander Udalov leaving.

Semen Vdovin was his substitution. Yes, the album finally was released, although we uraged out with it. We recorded it in Well, what kind of reaction might be on the debut album of an unknown group? And we did not seek popularity, we played mostly for fun. How did the writing process work on the new album. Were the songs a gradual accumulation or did you write them at once? The material, of course, accumulated gradually.

We chose the most decent songs in our opinion. Where do you seek inspiration for your lyrics? Would you say that you have any special influences that might have affected your lyrics somehow? Inspiration for texts were our personal experiences. Maybe there are slightly veiled.

But the main idea can be distinguished as experiences and feelings of people, who are aware of their imminent death. How often do you think about death? Is it beginning of the new life form? These song were recorded at home studio, the mixing, mastering, album cover were done by ourselves. What kind of music do you listen to? Do you listen to a lot of scene music or prefer to draw influences from a wider range?

Our musical preferences, we are very different. There are several groups that have influenced on our work, and they are not always doom bands. Moreover, the impact is not so obvious, for example, it just might be the mood of the musical composition. I will not enumerate concrete groups, but if speaking about areas of music, it looks like this: doom, sludge, stoner, post-metal, post-rock, grunge, hard rock, black metal.

They are certainly very different people who find something close to themselves in our music. Can you introduce your home? Is it a good place for life? North, night, beautiful nature — perhaps this I may say about our home. I think, whether it is a good place to live? Otherwise, we would play something funny. Metal scene in our region is very diverse, from the heavy to the brutal death metal. I can not say that it is different from any other. Different teams, different levels.

Just like everywhere. What do you think about Russian metal scene? How would you compare the difference in styles between Russian and rest of European extreme metal? We can say one thing about Russian metal scene: this is not something you can earn a living, with very few exceptions. We can explain the ownership of the group, referring to the genre, but it is not always the precise definition.

Each group is unique, even if they belong to the same genre. Do you work on the follower of the debut? Yes, we are working on the next album, it is now at the stage of mixing and it will be the last in our collaboration work. Perhaps it can be called posthumous. I do not like to pick up all these definitions. It is more aggressive, more evil. While our first album is more pessimistic.

In connection with the collapse of the group, I can say that this will be a new round of creativity. Now it is difficult to judge, in what format the new project will be one man band or full band. La scorsa settimana affermavo di nutrire diversi dubbi nei confronti di artisti che sfornano decine di album all'anno e con diversi progetti, dubbi che gli Abysmal Growls Of Despair effettivamente non erano riusciti a smentire.

L'ispirazione arriva da maestri del genere quali Skepticism e Pantheist, con una forte enfasi sulle tastiere che prendono la forma di organo e pianoforte, oltre a creare un costante sottofondo cupo; nel secondo brano la presenza di questo strumento diventa talmente forte da avere diverse fasi che si avvicinano alle atmosfere del Dark Ambient. Aristocrazia Webzine Feb. L'aria tetra, gelida e malinconica scaturita dalle note dei Mirror Morionis torna a farci visita. Il progetto del siberiano Cataract voce e strumentazione ha partorito il successore di quella suadente prova intitolata "Eternal Unforgiveness".

Le composizioni nella loro espressione semplice risultano infatti fluide, allentante e affascinanti, grazie a quell'aura talvolta quasi romantica donata dalle pregevoli armonie ed estensioni ambientali a carico delle tastiere. You Are The One" e "Offtime" ma Le idee che frullano in testa a Cataract sono decisamente chiare e i suoi Mirror Morionis si incamminano profondamente lungo un sentiero che li potrebbe condurre a togliersi varie soddisfazioni. Vi suggerisco quindi l'ascolto del disco: se avete apprezzato il debutto, troverete sicuramente lieta anche questa compagnia. Was sind diese Abstriche?

Abysskvlt sind nicht so minimalistisch. Die sind mit diesem auch optisch ansprechend aufgemachten Album bestens angelegt. Man merkt, dass "Thanatochromia" kein Schnellschuss ist, die Band sich Gedanken gemacht hat und ein Gesamtkonzept anstrebt. Magnifico esordio per i misteriosi russi Abysskvlt, con un funeral doom melodico degno dei migliori Ea. Abysskvlt come nuovi Ea, quindi? Un solo album non consente ancora di poterlo dire con certezza, ma Thanatochromia introduce una band che appare ampiamente in grado di ripercorrere le orme degli altrettanto misteriosi campioni del funeral doom.

Attendiamo i prossimi sviluppi, sperando di non dover aspettare altri cinque anni. Aristocrazia Webzine Jan. Mystical winter enters your room through your speakers, channeled from Mirror Morionis' fittingly-named sophomore album, 'Last Winter Tolls'. Hovering somewhere between Esoteric and Forest Stream, Mirror Morionis aren't as bleak or detached as the former, nor quite as melody or synth laden as the latter. For 77 minutes, Mirror Morionis stays pretty much in one gear, stretching itself out on one template, but for listeners in the mood for this will find a satisfying 77 minutes with no disruptions or unneeded experimentation.

After a fair and pretty synth intro, the album's first song 'As Winter Arrived' is a gargantuan long-hauler that's first in a series of gargantuan long-haulers. A listen through this song is representative of the whole album: a laborious snowshoe journey through wintery wooded landscapes guided by growling vocals at once bestial and gentle, patiently flowing guitar lines, and occasional breaks into percussion-free piano interludes. Vocalist Selena's decidedly operatic delivery adds a welcome layer, elevating the music and giving it further emotional pull wherever her soaring-dove voice appears see especially the later two tracks on the album.

An album for the mournful and the patient, 'Last Winter Tolls' is an admittedly one-dimensional album, but has no shortage of appeal within that dimension. Some albums straining this much mileage from few ingredients might end up seeming aimless or lackluster, 'Last Winter Tolls' successfully avoids the pitfall of monotony. It feels deliberate and meditative, giving itself plenty of time to unravel and thoroughly examine each musical idea; ideas that home in on serenity rather than anguish. A good accompaniment to swans gliding across a glass-surfaced lake under moonlight, or to a walk in the woods during snowfall.

Metaladdicts Dec. A darkened sky full of grey clouds and blackbirds. A scattering of old dead trees in the distance. A vast landscape of open, unmarked graves. Inside the booklet, you'll find lyrics printed atop old etchings from the Middle Ages. This artwork aides to inspire feelings common to the Doom genre: desolation, despair and hopelessness. This is a place where only sorrow lives. It's a good thing this two-piece collaboration from Spain provide a fitting soundtrack for such tragic scenery.

It makes sense that the first genre listed would be the dominant sound with a heavy influence from the second. Whereas, bands like Hooded Menace, early Anathema and the now defunct Morgion tend to borrow styles from the classic, more traditional Doom sound and amp it up with some Death Metal flavors. Whether this idea holds any weight or not, is yet to be determined. From my research, there appears to be two camps; one that believes there is no difference and it's simply a matter of preference, while the other holds to the aforementioned notion that the order of genres is specific to the style being played.

The band plays slow, heavy Doom layered with familiar gothic keyboard textures accentuated with a growling vocal style vaguely reminiscent of Death Metal. In addition to displaying a strong sense of traditional influence they also give a nod to their Epic Doom brethren. The album has a dirty, raw feel to it, but is also quite catchy. Old school heavy metal is also quite abundant; complete with guitar squeals, rocking drumbeats and the occasional solo. The album opens with an acoustic folk piece alongside some atmospheric synth, bringing to mind early Ulver or Into The Woods…. As terrifying as that might sound to some, I can assure you it's done tastefully and fits the overall esthetic of the song.

Typical pretty female vocals show up on a couple songs as well to add yet another layer of sorrow. Infinitum Nihil is one of those rare albums that takes awhile to grow on you. But once it does, you'll have a hard time listening to much else. The riffs are extremely memorable and will stay with you long after the album ends. So, the next time you're wandering through a cemetery late at night and come across an open grave, climb in, kick back, put on your headphones and let Graveyard Of Souls take you on a journey into infinite nothingness. Ebbene, il secondo album dei Graveyard Of Souls ha avuto l'onore di essere il primo.

Ma andiamo con ordine e partiamo dagli aspetti positivi. Notevole inoltre il contributo del basso, in certe fasi sembra quasi che ci sia un'interessante vena Prog che cerca di farsi strada. Da qui nasce la mia emicrania. Per quanto la mia esperienza da recensore sia stata disastrosa, mi sento di consigliare caldamente "Infinitum Nihil" ai seguaci del genere; la band ha comunque messo in mostra i propri sforzi, la propria passione e tanti pregi, lasciarsi fermare da questo tipo di difetti sarebbe alquanto stupido.

Aristocrazia Webzine Dec. Il disco infatti arriva quasi a sfiorare i trenta minuti e lo fa con un Funeral Doom che non nasconde una certa inclinazione verso il Death Metal, il che non dovrebbe stupire troppo guardando le esperienze con altri gruppi dei vari componenti. Proprio per questo aspetto va inoltre premiata la produzione, che permette a ogni strumento di far percepire il proprio contributo, consentendo di convogliare le emozioni citate in precedenza. Per quanto mi riguarda entra di diritto nella lista di nomi da tenere d'occhio e sono abbastanza sicuro che diversi seguaci di questo stile si troveranno d'accordo con me.

A wonderful one man project from Hungary. This album came out in , right at the end of that year, but regardless it would be criminal of me not to have touched on it. Right off the bat, the synthesizers are going to play a very large role in defining the shape and sound of the band. These are long songs, folks, though not as long as you might think. The 10 minute track 'Genesis' starts things off quite nicely, the synths doing some spacey and serene ambience before the harsh guitar work and vocals come in.

There's a ton of instrumental passages in these songs, not unlike mainstays of the funeral doom genre like The Howling Void, Ea, etc Right away I must say one of the biggest flaws of this particular track which really sounds almost like 2 different songs, the way he splits the tempo and structure up over the last half of the song is the almost carnival like synth notes that sometimes grate at me, sometimes they don't.

The vocals I really started noticing have a unique death growl to them, almost like a winter chill is mutating the vocal chords, but then I noticed some blackened vocals beside them!

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Folks, Dreams After Death possesses some of the harshest and most tortured vocals in all of doom metal, bringing out a sick, torturous quality that few can match. And here we also have another interesting development: those guitars can also crank out some emotional riffing!

Heavy and mournful, though that's not ALL this guitarist is capable of. Add some beautiful piano notes as well, and this track really pulls at the heartstrings. As does the followup 'Meeting With The Ancestors,' starting off with amazingly beautiful synthesized layers, with guitar work as rich and as astounding as anything you'd hear on a My Dying Bride album, mixed with the slow and doomy atmosphere of a Shape Of Despair. Folks, it's THAT good. Followup 'The Endless Time,' at a 12 minutes in lehgth, is one of the darkest and most hauntingly sinister cuts this band has on the disc.

Still, it takes a LONG time to really get anywhere, as mostly it's dark haunting piano notes and single note heavier guitar riffs that slowly fade in; it's almost 7 minutes before you hear the harsh vocal work and heavier guitars. Still, once that dark and haunting passage gives way to the heaviness, it's ultra sinister. A lot could have been cut out of this track, especially since right at the end it contains a lot of more silent parts. Followup 'From Time Immemorial' contains just as much darkness, though it doesn't waste time bringing the heavy instrumentation and harsh vocals to the forefront: not even a minute passes before you're right into it.

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It's a crushing dark and doomy masterpiece, before CD ender 'Outer Space' ends the album with an 8 minute instrumental Yes, you heard me right folks, and it's got some of the most beautiful and melodic passages on any one song. It's interesting that most of the synths represent lighter versions of some riffs from a previous track, though sadly this track meanders a little bit near the ending. The intricate piano layers raised an eyebrow as well, choosing to include complex piano notations as opposed to slow and doomy one note pieces here and there.

This track could also have used a bit of trimming, but despite it not being a perfect CD, it's absolutely amazing what this one man project is capable of, and it's not all haunting, dark, and melancholic. Yes, two other offerings have passed since this disc saw the light of day, but what a shame it would be if I didn't turn as many people on to this disc as possible, lest Andras Illes become yet another in a long line of frustrated bands that called it a day WAY too soon in their careers.

In the last ten years, scores of one-man bands have sprung up like persistent little saplings among a forest of mighty oaks. These talented acts grow to be strong and respected alongside their full-band brethren, whereas the less creative solo efforts fall short and quickly find themselves to be nothing more than brittle kindling. When faced with the task of writing all of the instrumentation, vocal patterns, song arrangements and lyrics as well as playing everything proficiently, most solo projects are expectedly hit or miss.

Luckily for Russia's Without Dreams, this doesn't appear to be a problem and the former case holds true. Clocking in at well over an hour and containing only two tracks, 'Rejected By Angel, Betrayed By Demon' delivers an essential slit-your-wrists soundtrack. The cover art depicts a young woman brandishing a bloody knife at her reflection in the mirror.

Her image appears to be distraught and full of immense sorrow. It has a classic hand-drawn feel reminiscent of the Thrash and Death Metal artwork by Ed Repka in the early '90s. Behind her reflection, multiple ghostly faces twist into shapes of anguish, torment and hatred. This imagery foreshadows the sonic sadness that awaits. The album opener, 'Demon of Suicide', starts off with a simple yet eerily hypnotic guitar melody. This riff reappears numerous times throughout the song, but given its lengthy 40 minutes plus, it can hardly be deemed repetitive.

If anything, it helps give the song a sense of continuity; a return to the story being told. Gothic-tinged keyboards abound alongside dark single-note guitar and rich guttural vocals drenched in reverb. The only part that really loses me is the uptempo "circus music" about 20 minutes in. Maybe it's supposed to represent the demon's attempt to toy with the suicidal subject? It'll be fun! Whatever the intention, the part lasts over a minute and a half, but is thankfully redeemed by Thanataur's monstrous growl, which ushers a return to true Funeral Doom form.

Track two is titled 'Fallen Angel'. Although a bit shorter than its predecessor, what it lacks in length it more than makes up for in movement. In essence, this second song is comprised of three main riffs that build up and drop down into near silence. The introductory guitar piece runs in the background for the first half of the track, while various other instruments are layered atop this melody until it recedes into a mellow break.