Beseech – My Darkness, Darkness


Beseech – My Darkness, Darkness album cover ghostcultmag

Is it possible for a band to take its work a little too seriously? Can the love of eyeliner and theatrical stage attire be pushed past the point of no return? And most importantly, does this make for good music? These are some of the questions I’m left to ponder over a cup of coffee (black, of course) after listening to Beseech’s My Darkness, Darkness (Despotz Records).

And I know the metal genre as a whole is a bit ridiculous. After all I’m a 29-year-old man with a college degree whose wardrobe is made up mostly of black shirts. I willingly own a denim vest with more patches on it than the average Nascar driver.

However, Beseech seem to operate on a level where ridiculous and deadly serious function as one. Just look at the album title, My Darkness, Darkness. I don’t know what that means, but it sounds like something scribbled in the back of a Mead notebook by a 14-year-old goth kid.

And their biggest problem is its inability to move past the ho-hum goth numbers. ‘Mr. Uninvited,’ its title-track and ‘Atmosphere’ are virtually interchangeable and I don’t mean that in a good way. For most of its running time Beseech is confined to muddy tempos, subdued guitar parts, all the while vocalist Klas Bohlin dominates the mix with his weird Christian Bale as Batman whisper-mumble. The most criminal aspect of this record is the underuse of second singer Angelina Sahlgren. We only get brief glimpses of Sahlgren’s range on ‘Beating Pulse’ and ‘The Ingredients.’ Sahlgren’s turns add some color to the drab musical canvas.

‘One Last Call’ has the band finally finds release from its songwriting restrictions as does the unexpected (but totally rad) Highwaymen cover ‘Highwayman.’

Metal is a business that’s always existed on the border of parody, especially when you decide to throw in some of that goth seasoning. Not every band has to go the Type O Negative route and play it tongue in cheek (although it paid dividends for them). Katatonia and Moonspell have had long careers accented by classic albums, but they always relied on the songs. Beseech doesn’t quite have them here.

5.0/10

HANSEL LOPEZ

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CODE – New Album, New Direction


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London’s progressive black metallers Code have announced details of their new album mut (Agonia Records)

Scheduled to be released on 27 February 2015 (UK and Europe) and 10 March 2015 (US) , the band’s fourth album sees them leave the trappings of extreme metal behind and head into the realms of post-rock. Having successfully conquered one style, they now set off a new, much less vitriolic path…

mut is the sound of us as a band freeing ourselves not just from the confines of what CODE is, but from genre conventions of any description. The time for conforming has past and we have created an album that is the purest distillation of our creative ambition. This is the first time in the history of the band that we have created music with no reference points and as a result, this is our most stark, intimate and emotional album”.

mut was recorded in the famed Brighton Electric Studios (The Cure, Foals, Nick Cave, Royal Blood) with engineer and producer Paul ‘Win’ Winstanley. Cover artwork and layout have been created by the Austrian designer Thomas Neulinger.

Band’s fourth album, the follow-up to 2013 effort Augur Nox, will be available in slipcase CD, limited grey vinyl, hand-numbered transparent vinyl and digital formats. Pre-orders are available here

Code have released a taster of their new direction with lead off track, the progressive Dialogue

 

 

Steve Tovey