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Rating: The beginning is almost intangible, subliminal, echoes of ancestral sounds, drumming, suspended, full of suffocating warmth, we enter the heart of the first of the four chapters of the album: STAINS AND FILTH IN THE CONVENT AOUEI, irradiated by the light of a blood-soaked twilight, creates an excruciating tension without ever releasing it, rather, accumulating it.
Dark and silent shadows crawl insidiously, changing shape and contorting, towering against that bloody dusk, tracks like "White Track Fire Frost" and "Veil" merge together like shadows, they unite and move slowly creating disproportion and disorientation, a spectral sense of imminent threat invades this entire first part, the serpentine wooden flute fragments of "Decoy" float in the void, almost echoing in the distance at the mercy of the wind, until they disappear and merge into the excruciating distortions of the final "Yezidi".
The sound of Zoviet in that 1985 is already completely outlined for several years, the very complex work during recording made of tape manipulation, overlays, and layering of every type of sound (often acoustic) has created something unique, tribal and low-fi, reminiscent of the experiments of musique concrète and dub, in many ways shocking, these Soviet folk songs, enclosed in packaging including worked ceramic box, wood, various inserts, and feathers collected on the beach near the Sellafield nuclear power plant undoubtedly represent their most iconic statement of intent.
"добрый день" serves almost as a prologue to the second part, a devastated whirlwind of percussion and flute vivisected by a manipulation of tapes as sublime as it is terrifying, YEZIDI CIRCLE TRAP can start, schizoid and tribal, it unfolds rough and anarchic, with tracks like "Sein" or "Ma-ja" leading a desperate and frenetic primitivist ritual, the finale entrusted to the crazy "Burning Bush" returns to the spectral atmospheres of the first part, every sound is overturned and expanded to the extreme until nothing is recognizable anymore.
BEAK AND SNOUT: the barren and arid landscapes are cloaked in an almost sacred sense, the disproportion and disorientation of the previous parts leave a tragic sense no longer linked to imminent threats or carnal ritualistic exorcisms, here one contemplates a void, a huge chasm, a clear sky and flocks of gliding vultures, "Sidhe Riuben" and "Veil Sloe Semen" radiate beauty, a wild beauty. "Sheol" is another example of this beautiful and tremendous gaze into the void, the sounds pile on top of each other unrecognizably, harsh and skeletal, always swollen with strongly marked emotion.
CHARM, the final part, an elegy, secret rituals of lost civilizations, photographs blurred by the night of time, "Chirm Geis" seems to echo in lands dried by the sun and bare rocks, some type of treated string instrument intones a circular melody as simple as it is heart-wrenching while a wooden flute draws ancestral sound trajectories.
Every track is laden with this pathos, from the unsettling out-of-focus and muffled movements of "Chirm Ela" to the ritualistic percussiveness of "Charm Aliso" and to the still and dying landscape of "Shewel". "Yezidi Say"... and this time we reach the end, no rite of passage, no frame of tribal life lost somewhere in time, only overwhelming distortions, what could be a voice wheezes in a loop some unknown phrase, the clangs and metallic screeches overshadow everything.
Tracklist
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