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Aidan Baker’s incessant explorations of the musical world this time took him to British doomsters Atavist. A relatively new star on the doom firmament who can lay claim to some of the filthiest doom this side of Khanate and Moss.
As Aidan’s own project Nadja’s early roots were also firmly steeped in hypnotic funeral doom one could expect that a collaboration between the two would result in a massive wall of crunching guitars, pummelling drums and screaching vokills.
Well erm, no.
This joint operation thwarts those expectations by delivering a remarkably gentle record consisting of 2 tracks aptly named after the duration of each track, in the same way as Atavist has named their songs on their own debut album.
"Twenty four: sixteen" starts out with a resonating guitar chord that slowly transforms into a droning melody, reverberating throughout the entire span of the song. Gradually new elements are added as the song grows, stretching out with new young branches as the trunk of the song, the base tune becomes stronger and more profound, strong enough to support the distorted guitars it has sprouted. These distorted riffs shudder back in forth in waves as if he wind was blowing through them. The wind has carried along a wandering voice from the distance, no doubt attracted by this wondrous spectacle of nature, but its utterings remain intelligible and soon die out as the winds caries it further leaving the branches to their own silent musings.
"Twenty Nine: Thirty Seven" takes the wind analogy even further. A soothing ambient soundscape of lengthy hollow sounding screeches play around a basic drone that swells into a storm before it ends in the mesmerising groove that Nadja seems to have the patent on.
In any collaboration the best you can hope for is that the end result is somehow more than the sum of its parts, that it is ignited with that magical spark to make it an entity all of its own. And that is exactly what Nadja and Atavist have accomplished here. My congratulations to the parents!
samohT
As Aidan’s own project Nadja’s early roots were also firmly steeped in hypnotic funeral doom one could expect that a collaboration between the two would result in a massive wall of crunching guitars, pummelling drums and screaching vokills.
Well erm, no.
This joint operation thwarts those expectations by delivering a remarkably gentle record consisting of 2 tracks aptly named after the duration of each track, in the same way as Atavist has named their songs on their own debut album.
"Twenty four: sixteen" starts out with a resonating guitar chord that slowly transforms into a droning melody, reverberating throughout the entire span of the song. Gradually new elements are added as the song grows, stretching out with new young branches as the trunk of the song, the base tune becomes stronger and more profound, strong enough to support the distorted guitars it has sprouted. These distorted riffs shudder back in forth in waves as if he wind was blowing through them. The wind has carried along a wandering voice from the distance, no doubt attracted by this wondrous spectacle of nature, but its utterings remain intelligible and soon die out as the winds caries it further leaving the branches to their own silent musings.
"Twenty Nine: Thirty Seven" takes the wind analogy even further. A soothing ambient soundscape of lengthy hollow sounding screeches play around a basic drone that swells into a storm before it ends in the mesmerising groove that Nadja seems to have the patent on.
In any collaboration the best you can hope for is that the end result is somehow more than the sum of its parts, that it is ignited with that magical spark to make it an entity all of its own. And that is exactly what Nadja and Atavist have accomplished here. My congratulations to the parents!
samohT