Korperschwache: As the color fades from the dying petals (Colony Records, 2012)

February 17, 2013 at 1:49 am | Posted in Reviews | Leave a comment

Korperschwache: As the color fades from the dying petals

Korperschwache: As the color fades from the dying petals

Korperschwache is a long-running doom-metal-noise project, with dozens of releases stretching back to the late ’90s. I’m most familiar with the project’s releases on Inam Records (always a quality label), but they also have plenty of releases on Crucial Blast/Crucial Bliss, Peasant Magik, Public Guilt, and many others. This is a fantastic CDr containing three long tracks with long titles, and utilizing slow, Godflesh-y drum machine beats, electrified drones utilizing keyboards and guitars and what sounds like a harmonium (maybe it isn’t but it sounds close), and some occasional Gregorian chant-like vocals. An 11-minute prelude sets the tone with the slow beats and droning, and then we get into the 38 minute monster titled “On my last night in the moonlight I remember how the dead flowers looked inside your shallow grave”. This starts out with harmonium-sounding drone, Gregorian chanting, and then some slow reedy vocals, before the slow doom-metal guitars and drum machine beats kick in. The vocals shift to something more black metal-ish, simultaneously sounding like they’re whispering and screeching, and of course covered in echo. After this, the piece continues in a long instrumental section, using more of the harmonium-like drone, focusing on guitar and drums for a bit, and then removing the beats entirely, and dropping out to a more atmospheric guitar sound. The long beatless section gets lighter, adding soft keyboards and even electric piano, and then more harmonium-drone. A bit of drumming comes back in, but the piece begins to fade out after the half-hour mark… only to return to the reedy vocals, which are abruptly cut in by abrasive shrieking, and then a faster, more involved drum machine pattern. The vocals are turned down a little, but they’re still loud and abrasive. After a few minutes, the drums and vocals go away, and the guitars sort of burn out, and there’s a quiet bit of drums and vocals, which sound particularly evil and ogre-like. The album’s coda is almost 9 minutes long, short for this album but still epic by other standards. It ties everything together with more crushing drum machine beats, droning and guitars. Some really lovely sounds here, and even as doomy as it is, it’s extraordinarily beautiful and even uplifting.

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