Review Summary: Australian blackened funeral doom metal that resonates along with other funeral doom records building on this one man band’s other works. Are you going to be swallowed or are you about to escape the rising water?
There will always be occult bands as well as bands that drudge along unheard of; take Noctis for example… this Australian doom band has some fine doom metal, one full-length and an EP but without publicity there sales and following will remain relatively small. Compare this to Elysian Blaze; a little more publicity and a few more records to boot, but the same pattern emerges. This one man funeral doom writer also shares a heritage from Australia but that doesn't really separate him from his peers and better acts. Now, keeping relatively unheard of might be in the design but how are people supposed to enjoy the music they don’t know about? The answer is simple – you the listener get told about it from others.
So here I am, writing, informing, and noting whatever. The point is
Blood Geometry may not be the most recognisable album of 2012, but it is in fact a great listen. Overshadowed by heavyweights such as Coldworld, Ash Borer, Paysage D'Hiver, and Evoken (a couple of which released records this year and it’s to no surprise that Elysian Blaze’s
Blood Geometry is over-looked) it’s easy to see that this is not going to be one of those ‘mainstream’ talked about releases. For all it’s worth many may listen to this once, and then move to some of those already mentioned bands.
Blood Geometry is an album full of resonating guitar chords, eerie vocal groupings (as well as your typical black metal rasps) minimalistic drum patterns and an atmosphere combined with a slightly raw production to give ultimate effect on the drawn out passages and simplistic (usually three note) melody lines. Some may find the reverb to be over-the-top mainly because its use is prevalent throughout the album’s entity. Tracks like ‘The Temple Is Falling’ and ‘Pyramid of the Cold Son’ may present some excellently produced ideas, but they don’t really need the overbearing presence of reverb where wind instruments and smooth chanting create all the atmosphere required on these tracks.
The album itself clocks in at over two hours and takes some patience in order to suit through and whilst this could be said for most records in this genre this comes more appropriately as most other records still manage to come around the hour mark. Thankfully however
Blood Geometry doesn’t feel like an overly long process. Tracks float through with more minimalistic clean tones than dark growls and highly distorted guitar chords. The production is raw enough to give the album merit without creating the ‘recorded in a tin can’ type of sound. It’s fitting that this record provides enough light sections to contrast with the dark, that’s of course when the distortion and wrung out guitars are used at all. At times the guitars, and drums become equally mute allowing for the clean minor tones to resonate with the listener. Picture an ocean on the edge of a beach and you’re all alone, let the tide take you – back and forth, in and out. The setting is tranquil, peaceful even with the crashing of waves. Close your eyes, you can feel night fall and suddenly the music takes on an eerie feel while remaining utterly peaceful. This imagery works for Elysian Blaze’s 2012 release, especially as the water begins to creep up the shore, around your ankles and above your neck line. The peace turns into haste and the need is dire to move before you suffocate under the tide.
Overall,
Blood Geometry may not be the most listened to album of the genre and it certainly isn’t the best – but let the record take you, delve into your sub-conscious, tune out of the world and enjoy the multiple layers that is given to you. It may require a couple of listens to learn to appreciate the wild yet sedate shaping and a level of patience and self-control to sit through over two hours of music but
Blood Geometry is an album worth taking the time to understand and honestly doesn’t have the feeling of a drawn out tedious listen. Almost every component of this record has a place (except for the matter of some over-bearing reverb) and adds positively as a whole upon the album’s completion. Whether you as a listener have heard this or not there will be something within that is sure to please. Give it a go, shut your eyes and let the tides take you.
