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artist: Barghest / False
title: Barghest / False
year: 2012
genre: Black Metal
type: Split Album
label: Gilead Media
language: English
rel. date: 2012-09-18
source: WEB/MP3
quality: CBR 320kbps / 44.1 kHz / Full Stereo
runtime: 00:34:37
size: 83.79 MB
rip date: 2024-08-29
source url: https://www.deezer.com/album/141506202
tracklist:
1. Barghest - Shifting Sands 8:55
2. Barghest - Inhuman Hatred 8:07
3. False - Heavy as a Church Tower 17:35
release notes:
Barghest contributes two long songs to the split. "Shifting Sands" is
one of the first songs Barghest wrote. The contrast with the song by
False is dramatic. The lo-fi music hits immediately with a tidal wave
of double kicks, cymbal crashes, and savage, tremolo-picked melodies.
The pacing of the song drops before it's over into a sludgy monolith
of uber-distorted instrumentation, though still threaded with morose
melody. The vocals (which are subdued in the mix) vary between
paper-tearing shrieks and bestial growls.
The second Barghest track, "Inhuman Hatred", is a new song. Listening
to it is like being caught up and carried along in a radioactive blast
wave as its diameter rapidly expands from ground zero. It's a titanic,
gut-ripping grind of low-tuned guitar and searing vocals, the drums
inflicting a constant rumble with scattered, reverberating snare hits
and attention-grabbing progressions. There's a change in the guitar
tone about mid-way through, climbing slightly higher in the register,
but losing none of the vicious, incessant, grinding, assaulting
quality of the music.
Seriously, there's no let-up and no prisoners taken, and a better
title for this song could hardly be imagined. Strong fucking shit.
The contribution from False is a song called "Heavy As A Church Tower"
that's over 17 minutes long. The music moves through a multitude of
dark landscapes - near-ambient doom, with shimmering guitar and
keyboard atmospherics over a throbbing low end; a flood of manic,
blasting drums and howling/scything/writhing guitars; avant garde
lead-guitar and bass interplay; discordant, down-tempo funeral doom;
and at the end, near-clean tremolo-picked melodies worming their way
through a dense maelstrom of guitar, bass, and drum cacophony.
The song has a very heavy low end. In fact, the jaw-dropping drum
rhythms and bounding bass work on the song come very close to stealing
the whole show. The vocals (voiced by a woman named Rachel) are a
shattering flurry of glass shards, and are one of the few elements of
the music that connect directly to "traditional" black metal. Overall,
it's a complex song that demands attention, and in its experimental
qualities reminds me of bands such as Deathspell Omega and Blut Aus
Nord.