Latest updates:

We hope you enjoy your visit here. Please join or login if you have joined before.

MT @ Facebook

Not logged in

Users online

28 guests

Welcome to our newest member, willtravers

Morost - Solace In Solitude

Solace In Solitude
by Abir Kalai at 14 November 2014, 9:50 AM

First time ever I stumble upon a Slovenian band, and it rather gave me the chills as a first of a kind discovery for me from the very start with the album cover, immaculately depicting one of my favorite Einstein’s quotes of all time: “I live in that solitude which is painful in youth, but delicious in the years of maturity.” Still, what can initially be considered a band’s juvenile jaunt seems to have the potential to turn someday into an odyssey, given their applaudable attempt of syncretizing both technical and atmospheric dimensions, apart from a flimsy instrumental intro track “Introversion” with nature sounds with amateurish monotonous chords which maybe are intended, obviously the least appealing part of the album, 180° contrasting with the feistiness of “Human Debris” inoculated with decorous growls performing fairly fathomable lyrics, which is even able to compete with plenty of renowned names. Else, what strikes most throughout the album is the drum playing style similar in some points to that of Chris Adler, taking the lead along the whole album owing to groovy blast beats and mostly those hellish bass drum pedals. The keyboards foremost church organ-like effect redirects one’s mind to the early DIMMU BORGIR releases namely that of "Spiritual Black Dimensions" especially when it has to do with the characteristic odd bleak scales, coupled with a solo unexpectedly without any rhythm guitar.

“A Predicament In Time” was boogie-like at first; with the drums accentuated by keys, yet leaning toward a progressive styled anti-conformist time signatures with each riff different from any of its previous ones as well as some quasi unpronounced transition bars and offbeats, thus all you have to do is to surrender and follow the music where it leads you, and you won’t be disappointed. From now on, the growls seem to get more profound, and we’ll even experience more of the sublime art of alternating scales.

The bass – a.k.a. the cornerstone of any self-respecting progressive music- gets its way to solo to the guitars assuring the rhythm in “Thorp Afield”, a track characterized by the absence of any predominant instrument, but just a mingle of all of them above heading straight to a resolution, with a tempo objecting to all rules and an intense extended solo sustained with a peculiar tremolo bar making of it the best track of the album according to my personal taste. Notwithstanding that the keys brought sometimes a plus, they were also at times disposable if not harmful – for the same church organ effect is often forcibly introduced in uncalculated moves.

The 9-minute-track “Mitos” induces best the impression I had years ago while listening "The Serpentine Offering" by DIMMU BORGIR for the first time, making the aftermath groovy breaks such a soothing feeling of relief chiefly when you realize that the guitars have shut down leaving room to the serene root beats of bass and the only keyboards solo of the album, buoyed up by a tremolo picking from beneath beside the macabre dance between swift keyboard arpeggio and pedals and the unforeseen equilibrium between rhythm crescendo and decrescendo occurring in turn before fading to a mournful low tempo funeral-doom like solo, whilst extended long-noted solos have become a bit predictable following through the tracks of the album.

Comes the odd man “Regrets” primarily focusing on the vocals with instruments limited to a mainly auxiliary role, reminding us of the melodic death structure yet with more complex arpeggios instead of mere chords – thinking of the singer as a poet reciting a long tragic tirade with a lyre or a bouzouki, before the closure “Degression” which is an effortless  more intense version of the intro with the whole instrumentation involved this time fading in then out with the same monotony of “Introversion”, both should have been eliminated from the final cut.

Alimented with progressive elements, this artwork actually reunites several genres in harmony though MOROST is self-declared a “Groove Death Metal” band. But when it comes to Progressive Death, home studio recording (as it seems for this case) can’t be deemed a setback but rather a surprising helping hand for such a genre as it further adds that distant echoed gloomy sound we all cherish.

3 Star Rating

1. Introversion
2. Human Debris
3. A Predicament In Time
4. Thorp Afield
5. Mitos
6. Regrets
7. Degression
Jonas Savšek - Vocals
Žan Grintov - Bass guitar
Tomaž Kogovšek - Drums
Blaž Zupan - Guitars
Peter Frol - Guitars
Tamara Cerović Erjavec - Keyboards
Record Label: Independent


You do not have permission to rate

Metal Temple © 2000-2014
Yiannis Mitsakos

Designed, Implemented and Hosted by PC Green