'The Egregor of Evil'

(Self released CDr in 2002 and re-released by Oskorei in 2004)

MARK: 74/100

 

The second CD for this cult band from Moscow's suburbs has been re-released this year by the Russian indie label Oskorei and is a bit different from the debut as it contains more mid-tempi, gloomier riffs and a few smart experimental solutions. The recording and mixing tend to hide high frequencies and the snare drum unfortunately, and is probably the weak aspect of this full-length.

"Barbaric March" is the instrumental opener, halfway between Bathory and Falkenbach, followed by "Casemate # 802", showing a male/female vocal duet, absent in the debut and in the following CD; moreover, the male vocals are different from the ones on "Wreaking Overrun" and Occult Stellarghost screams really rough here.
The greatly-titled "Winds of Eternal Grief" begins in a groovy manner and then it grows with a couple of Thrash passages; the following Black is less oppressive and somewhat oneiric. The title track contains an initial riff somehow Emperoresque. The two final riffs (one undistorted and another distorted) are surely quite beautiful, while the rest is furious Black metal.
"The Sufferers" is my favourite piece, probably because the vocals are even more distinctly devoted to Darkthrone ("Total Death" and "Panzerfaust" in particular, between Dead and Nocturno Culto); it's also worth stressing out the role of the keyboards, hieratic yet never invading.
"Sozvezdiya Lyry i Orla" (Constellations of Lyra and Eagle) will make you dream with eyes wide open, first with whispered vocals and later by funeral or suffusedly ascetic keyboards; it's concluded by brilliant punishing male vocals.
"Bearer of Knowledge Always Alone" mixes male screams and clean sing-songing bisexual vocals; also, it includes two longing guitar solos.
Imperious battle Black metal with croaking vocals and rare melodic keyboards interventions is "The Trumpet Call", whereas splendid are the female vocals (poetical, hypnotical or whispered) signing "Pomny o smerty" (Remember of death); this masterpiece spaces from Symphonic as far as Folk Black metal and is an invitation to let our souls fly high like an eagle on its notes!
The next composition, "Dissonant Occult Experience", dives into the most lugubrious esotericism, enough to be defined 'the soundtrack of a real sabbatical ceremony', even though it embodies a very original kind of Black metal as well; this insertion, that sums a not distorted electric guitar and a distorted one might, make some of you think of Opera IX.
Finally, the cover of Ludwig Van Beethoven's "Egmont" (minor version), is mostly dark and royal, nevertheless there are a few sunny moments as well.

The come-back of Twilight Is Mine can't but witness what good their debut Cd reserved for us, even if I keep on preferring that, probably owing to the better recording.

MARKUS GANZHERRLICH - 12/7/04