Year : 2011
Genre : Djent Instrumental
Label : Independent
Origin : United States
Rating : 8.9 / 10
Spiralmountain is the one man band djent project of a djentleman called Erik Ebsen, in which he operates both as compositional force, prime executor and instruments programmer. This musician, fortunately enough, knows no concepts relating to lack of inspiration whatsoever, as Blacksand is the first of two full lengths he hits consensus with by this very year. Noise Shaft, as a highly intoxicating post-humanistic music review site, is interested in propagating djent, as it recognizes the style as an exceptionally interesting sub-genre (tip : of music) that tolerates no lies and shortcuts, always demanding genuine effort and elegant cunning from the content to emerge as significant.
Blacksand, quite safe to say, is an album that reigns in the position of having steady capacity to offer brilliant djent patterns sculpted out of pure creativity and love for the genre, and here are some direct examples right away : track number 2, called "Death as a Cult", second 53 : a superb, "stalling" pattern that promises no good whatsoever, - I could listen to this one for five seconds or five minutes no problem - and it reveals multiple key elements of the relentless djent intentions. It has the thick, mean guitars djenting on one single note in an illegal space-time rift, taunted by a much more thinner guitar on the top that recognizes and accepts no beauty at all. This is only one tiny interlude-segment, one though that I consider truly significant in the fabric, as it sends you the message that you are listening to music with pure thought behind it. Blacksand never comes short of these moments of instant magic. Later on, this particular song goes towards a variety of relatively adventurous ways, among these, a direction of melodic death metal seems to emerge as the most momentarily prominent.
Another direct example to give you an account of the flamboyant developments throughout, is track number 6, called "Apathy" : the introduction is a hilarious display of how djent can flirt with thrash metal and death metal. First, you have a lost-in-space djent-derelict guitar riff failing to give a shit for its surroundings, then, death emerges for a couple of seconds with blast beats so relentless that the fabric of things have no other option than to shiver, which is an expectable reaction to proper death metal. Read on to find out more about this superb one man band djent release.
Blacksand, as - hopefully - suggested with the examples above, is a ripe account of Erik Ebsen's inner images of the faces of metal music, all these reflections being presented by the thrilling tools and favorite fixations of relentless djent warfare. I personally am arriving to a cautious conclusion that djent is all about the
be it whatever it needs to be as long as it has a cosmic meaning, and no legit djent pattern lacks the cosmic meaning, trust me. Erik Ebsen's Blacksand is on the constant hunt for such patterns, and you always will be delighted to realize that the release shows steady efficiency of getting itself to direct stalking position within seconds. Opening track, called "Fade" reveals a quite interesting concept right away, as the central idea revolves around a fragile "the special island I've been keeping for you and me, sip!, sip!" palmtree-mood, - Enya in character, I swear! - supported though by a restrained type of efficient djenting, giving out a persistent sense of determination - "and you will come with me to that special island" - and relentlessness - "alive or dead."
Erik Ebsen exhibits fortunate-, and persistent readiness at complimenting odd positions on mere time's mere body, and time, sure enough, is quite happy about these reoccurring acts. The album enjoys warping - at heart - simplistic drum patterns into mathematical fractal complexity just to command them back to comfy-, instant "kicking the ass of 4/4"-enjoyment position, and Erik Ebsen has no trouble hiding the "One" you are so curiously looking for when listening to djent worth doing that with. The "One", in this context, is the start of the pattern, of course.
Blacksand is a release that looks quite good in this instrumental form, as it remains free of the mere act of throwing in vocalized lines of profound misery to sell out the same pattern for 128 consecutive bars like an other album does. This isn't to say that the LP has any problem offering well varied stagnation, which, in my opinion, is equally important in this style. The introductory segment of titular track "Blacksand" is a great example of how intense-, minigun-grade djenting can be complimented with delicious, proper variation. All in all, I'm going to wrap this review up by saying that this album has a whole lot of quality djent content to soak your ears into. I find it a surprisingly ripe delivery, and it is highly recommended.
Rating : 8.9 / 10
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