1. Köhntarkösz (Part I) - 15:242. Köhntarkösz (Part II) - 16:04
3. Ork Alarm - 5:29
4. Coltrane Sündïa - 4:14
Christian Vander's natural form of expression might be the album-length epic. At this point, all four of their albums were works of high concept that either boasted lengthy standalone pieces (1001° Centigrades) or album-length song suites (Mëkanïk Dëstruktïẁ Kömmandöh and Ẁurdah Ïtah). They were also performing a fourth epic live (Theusz Hamtaahk), but instead of recording that existing opus in the studio like any normal, workaday progressive band would do, Vander opted to pursue an entirely new project.
Still sung in Kobaïan, Köhntarkösz presents a more paced, measured approach to the long-form piece. Perhaps minimalistic compared to MDK, it is still full of interesting melodic and rhythmic experiments, choral explosions, and moments of stark peace and rare beauty. The entire work is based on a three-note upward progression that permutates through various tempos, tones, moods, and arrangements. With this intentional limitation of the chordal movement, the band achieve startling focus and subtle creativity as countermelodies, solos, improvisations, and ominous drones weave in and about the flux of the main theme. The overall tone is dark and mysterious, with moments of blinding light. (Wikipedia says the story is about an archaeologist whose research uncovers a pharaoh prophet with knowledge of the planet Kobaïa. I'll buy that explanation!)
Rounding out the album are two shorter pieces. Bassist/cellist Jannick Top's "Ork Alarm" features guttural vocals and insistent pulsing cello, with harsh electric guitar screeches punctuating the melee (though, surprisingly, drums are absent). It successfully evokes both orcs and alarms! Abruptly changing gears, "Coltrane Sündïa" is a beautiful coda for several pianos and volume-pedalled electric guitar, bringing the whole to an uncharacteristically serene close.
Arbitrary rating: 4.5 out of 5 moments of blinding light
No comments:
Post a Comment