2023-11-22 06:56:46
14 years later To Lay Like Old Ashes do the reunited ones Austere little to stand out from the generic mélange of Atmospheric Black Metal and DSBM, they do so Corrosion of Hearts but surprisingly good.
That the comeback of Sorrow (Tim Yatras) and Desolate (Mitchel Keeping) is quite a disappointment when compared to the previous discography of the two Australians, which seems to be the consensus opinion of all those who have listened to the previous two studio records by Austere worshiped in an almost cult-like manner.
At least with a more differentiated approach to the duo’s output, which is in the rearview mirror Corrosion of Hearts but in fact it has not only become a competent display of class on its own: in the decision to evade direct comparisons with its predecessors through a few evolutionary stylistic steps, the comeback doesn’t do everything, but it does a lot right – and, paradoxically, it also succeeds the submersion in the sea of Nordic BM interchangeability provides the substance for a beguiling genre work.
Austere After the long break, open the corset of warming despair and allow for a certain form of optimism in every respect. Be it in the vocals, which have become more variable and cover a fuller spectrum, from the whining barking to the timid clear singing, but have largely left the desperately harsh psychosis behind them, to the sound of the instruments, which rounds out the guitars and mixes them dominantly, while the drums and synths compactly and dynamically prime.
In some ways they are Austere This measure has simply made it more pleasing, also in terms of the more formulaic songwriting, which, strictly speaking, does not offer any challenging risks, but certainly predictable arcs of suspense – but also more mature and clear.
Why Corrosion of Hearts works so well in this location and is therefore difficult to determine from a purely analytical perspective, but conversely it probably has to do with the depth of the atmosphere created. With the atmosphere and grandeur in which you can literally sink into it. Or even simpler with that Austere do little differently than many others – but always do just that little bit better than the majority of the competition.
Light and shadow go hand in hand in many ways. Sullen establishes the exemplary pace of the hurried mid-tempo forward, the guitar tracks paint a tragic beauty, the slowly shifting melody of the graceful chord progressions has an epic longing, and by the halfway point at the latest Austere The opener has so much space, time and the emotional spectrum to develop a resulting effect.
Stays so strong Corrosion of Hearts subsequently only to a limited extent, even if it is beautifully shimmering A Ravenous Oblivion builds impressively up to a shrill, hissing demonic finale, but already anticipates a certain ambivalence.
After a piano intro that comes out of nowhere and then disappears once more at random, this is very clear Darkness adapted, but reasonably inspired The Poisoned Core For example, the up-and-down painting-by-numbers soon become too sluggish and tiring – but the number gradually comes into its own when the heroic textures take hold with a majestic serenity.
Pale (another strikingly thin piano crutch as a clichéd introduction?) immediately convinces with melancholically wafting, sadly worn-out clear vocals – but when the closer hits the accelerator following 6 minutes, it doesn’t unleash a freshly harvested boost: the range of intensity always feels the same and therefore ensures an underwhelming conclusion to this very good, but not outstanding third work as hoped.
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