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This album is partly inspired by the 'Silent Hill' horror games, something I'd know nothing about having played very few games released after about 1995, but conveys an incredible atmosphere of decay, torture and fear without being overly bombastic or cheesy like some horror-themed bands. Like Anaal Nathrakh in past albums, there's an overtly mechanical and literally industrial sound throughout this album, from the crunching static and other assorted painful sounds awash in the vile sea behind the music, right into the music itself with its programmed drums. These are my only issue with the release, most likely a matter of necessity on the obscure band's part, as although they're fine the majority of the time when keeping a steady rhythm in the doomier sections, they're occasionally called upon to unleash a fast and devastating machine gun like attack of ersatz double bass pedals, and are only capable of a distracting ticking.
This album will prove unapproachable to many, and it's not an easy listen. About half of it is ambience of a particularly dark and sinister kind, and the other half overlays depressive and often painfully slow black metal over the top. The guitars occupy the middle range in their slowed death metal lead melodies, creepy and adding some nice treble to this otherwise dirgey affair, but it's the vocals that are particularly interesting, ranging from a monotonous but powerful death metal growl to more panic-stricken and tortured low singing, though his dominant presence in the album's one major step outside of its usual style also sadly makes for its least impressive offering; the penultimate 'One Day You Will Understand Why' is a spoken word piece over minimal backing effects that smacks of a young man's angsty poetry, not as embarrassing as Rick from 'The Young Ones,' but not really necessary as a serious aside from an album that has already proven what's so terrifying and wrong about the world.
This also isn't an album you could choose from selectively or sample in a playlist, as the focus is entirely on setting and maintaining atmosphere. The overlong tracks one, three, five and eight are so because they spend so much time establishing the mood before the drawn-out and occasionally hypnotic metal performance begins, while the shorter songs in-between are interludes of several minutes apiece, led entirely by sound effects of increased scariness and prominence, from what sounds ominously like a buzzsaw to the less dangerous but equally creepy hum of a hovering fly swarm. This isn't music composed for the express purpose of aiding a Satanic chant, like Black Funeral's 'Moon of Characith,' but it isn't something to play in the car while driving to work, unless you're a horror film director trying to get in the zone, or cruising around patiently for the nearest railway bridge or pier to drive off triumphantly. It's a great album for mood if you're a bit strange like me, but should be kept away from pregnant mothers at all costs, lest their unborn child is born with cloven hooves or a tiny square moustache.
1. Deleted Scenes I: In the Hallways of Crawling Filth
2. The Elevator Beneath the Valve
3. Pendulum Prey (Second Incarceration)
4. Isolation Cubicle 312
5. Entangled in Mannequin Limbs
6. This, Then, Is Paradise
7. One Day You Will Understand Why
8. Deleted Scenes II: In the Gauze-Womb of the God Becoming