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Odradek Room - A Man Of Silt (CD) Digipak

progressive doom death / post metal, BadMoodMan Music, BadMoodMan Music
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Odradek Room, группа, исполняющая progressive metal с doom элементами возвращается этой осенью с последователем их зрелого и интеллектуального дебютного альбома «Bardo. Relative Reality», выпущенного в 2013 году. Коллектив из четырех музыкантов из Мариуполя ( Украина), Odradek Room (названный в честь рассказа Франца Кафки «Заботы семейного человека» [1919]) используют doom в качестве основного стиля, но исследуют другие музыкальные жанры, чтобы создать богатую палитру текстур и атмосфер. Благодаря лирике, основанной на духовных и философских темах, эта музыка адресована интроспективным душам и глубоким мыслителям. Альбом "Человек из ила" исследует природу личности основываясь на подходах и концептуальном понимании буддизма, но используя европейские системы символизма. Это рассказ об абстрактном путешествии человека из небытия в небытие, по ходу которого он пытается понять и увидеть свое я. Он видит, как его личность тает и возникает, дробится и соединяется. Видит, что личность - не более комбинации фигурок, как на шахматной доске в магическом театре Германа Гессе, обсуловленная, как и все в мире форм. Человек то погружается в свои пугающие и болезненные иллюзии и проекции сознания, то видит ясный свет и чистую природу реальности. Этот рассказ не имеет начала и конца, каждый из рожденных, считающий себя индивидуумом, за жизнь проходит этот одинаковый цикл... Но каждый раз по-новому. Все постоянно меняется... и в каком-то смысле остается неизменным. До тех пор, пока этот цикл не будет осознан. «Man of Silt» будет выпущен совместно Hypnotic Dirge Records и BadMoodMan Music ограниченным тиражом в 500 экземпляров. Будет также доступен шестипанельный digipack с ограниченным тиражом в 100 копий для каждого лэйбла. Альбом должен понравиться не только поклонникам doom metal, но и слушателям прог-металлических групп, таких как поздняя Katatonia, Opeth среднего периода, Ihsahn и Devin Townsend.

Треклист:
1 Arising In The Void
2 Selfness
3 Texture Of Reality
4 Mirror Labyrinth
5 Rain Trip
6 Silt Flower
7 Divide
8 Conditional Eternity

Артист:
Odradek Room
Страна артиста:
Ukraine
Год альбома:
2017
Название:
A Man Of Silt
Стиль:
progressive doom death / post metal
Формат:
Compact Disk
Тип:
CD
Упаковка:
Digipak
Лейбл:
BadMoodMan Music
Кат. номер:
BMM. 081-17D
Год издания:
2017
Штрих-код:
4627080611276
Страна-производитель:
Russia
Review
Metal Temple
9/10
01.05.2021

“Painted Mind” is the new album from Ukrainian band ODRADEK ROOM, which remains at the forefront of intellectual metal scene. Stylistically the band's music originates from Atmospheric Post-Metal and Doom Death Metal with elements of related genres. Project's author produced animated clips, which together form a whole psychedelic film with an overarching plot. The album depicts psychological aspect of 'mind obscuring', deconstructing and diving into suppressed states of consciousness. The album contains seven tracks.

“The Room” is the opening song. It’s a short, two-and-a-half-minute opening track. It begins with organ notes, followed by a crushing riff and super-harsh vocals. More keys are added in layers, and it has a very depressing sound. “Breaching the Soul” opens with more ambient keys and light drumming. It picks up pretty quickly after that. Whispered vocals lead to harsh guttural utterances, with thick, open guitar notes. A brief guitar solo comes in, leading to an ethereal passage of Doom, with audible bass notes. Clean vocals provide some diversity. Towards the end, a heavy, weighted sound passes complete with a trippy guitar solo.

“Clarity” begins with more of those organ notes. They are sad and fill the room with despair. Some thick bass notes join in, along with background ambiance. Clean vocals here are sung with anguish. Instead of anger, you feel pure despair in this song. “Can’t Tend a Flame” begins with a full-on assault of angry vocals and aggressive guitars. I love the bass work here from Serhey Kuznetsov. Just before the half-way mark, it slows for just a moment, then a new riff enters. Artyom resorts to some whispers to go along with his clean vocals. It picks back up, with renewed vigor, ending on some pummeling guitar accents and a charming clean guitar fade-out.

“Escape” has a long, ambient opening. Clean vocals have the vocalist contemplating whether or not he can change his fate. The are very emotive and will break your will. “Prayer” is one of two shorter songs that close out the album. It begins with a lot of atmosphere and fills the background with melancholy. It begins to swell towards the end, when light drumming comes in, along with a feeling of hope for the future. “Tree of Time” is the three-minute closer. A ticking clock can be heard in the background, along with the breaths of a ravaged man. Pretty strings combine with clean vocals, sung in harmonies.

Despair, hopelessness, and the feeling that you are alone in this world is what you feel after listening to the album. Doom elements come though strongest for me. They remind me of ENSHINE or SWALLOW THE SUN. The pacing is very slow, allowing the various elements to swell. The themes of different suppressed states if consciousness come alive. Sometimes angry and hateful, while other times more mellow, the tracks a whole is very well done. I felt myself running through different emotions that hit me square in the gut, and the textures they built here are extraordinary. This is a near-perfect release, and they have a new fan in me for sure.

Songwriting: 9
Musicianship: 9
Memorability: 9
Production: 8

Author: Dave "That Metal Guy" Campbell
Review
Rock’n’Load
02.11.2017

Named after one of Franz Kafka’s short stories, Odradek Room is an atmospheric and progressive death-doom band with post-rock leanings from Mariupol, Ukraine. Initially formed in 2008 under the name ‘Shards of Silence’, the band changed their name in the beginning of 2010, and their first release appeared on the compilation of Doom-art.ru project.

Over time, the band has developed and refined their sound for their debut album ‘Bardo. Relative Reality.’ Creating dynamic and profound music, rich in tempo and mood variation, Odradek Room has crafted an extremely strong debut which perfectly shows the duality between the aggressive and melancholic sides of death-doom combining slow plodding riffs, soaring emotional melodies, post-rock leanings, and a psychedelic touch to create a rich canvas of sonic majesty.

Their first full-length album, Bardo. Relative Reality. was initially recorded in early 2012 and self-released in digital format. However, it was later decided that the album would be re-recorded to fix up a few issues in the recordings, and that process is now complete. The upcoming album, based on the ideas of the Tibetan Book of the Dead and surreal images of the subliminal consciousness was released on Hypnotic Dirge Records in March 2013.

Author: #Flashartmark
Review
The Burning Beard
14.10.2017

Coming to us from Ukraine, the group of Odradek Room have readied their sophomore album, and A Man of Silt shows the band delving into a compelling mixture of prog, doom, post-rock, and sludge, with a variety of ways to blend those styles flowing out of every track. Flexing their musical muscles in a range covering slow and melodic introspection up through snarling, dissonant rage, OR continually shift from one blend to the next without making the changes feel anything but natural. The number of instruments they put to use is just as impressive, and like the styles, they’re brought together in such an organic way that their diversity can fly right past the ears. The vocals aren’t quite as fluid with their changes, both both clean and dirty singing is put to solid effect, with enough time spent in instrumental passages to help smooth their presence.
It’s an impressive and ambitious album, and as a sophomore release, all the more staggering for the range OR are able to pull off with few hitches, with a level of depth that issues a siren’s call for listeners to return to it again and again. Give it a go if you’ve been in want of expansive, experimental, and extremely good metal.

Author: Gabriel
Review
Breathing the Core

Named after one of Franz Kafka’s short stories, Odradek Room is an atmospheric and progressive death-doom band with post-rock leanings from Mariupol, Ukraine. Initially formed in 2008 under the name ‘Shards of Silence’, the band changed their name in the beginning of 2010, and their first release appeared on the compilation of Doom-art.ru project.

Over time, the band has developed and refined their sound for their debut album ‘Bardo. Relative Reality.’ Creating dynamic and profound music, rich in tempo and mood variation, Odradek Room has crafted an extremely strong debut which perfectly shows the duality between the aggressive and melancholic sides of death-doom combining slow plodding riffs, soaring emotional melodies, post-rock leanings, and a psychedelic touch to create a rich canvas of sonic majesty.

Their first full-length album, Bardo. Relative Reality. was initially recorded in early 2012 and self-released in digital format. However, it was later decided that the album would be re-recorded to fix up a few issues in the recordings, and that process is now complete. The upcoming album, based on the ideas of the Tibetan Book of the Dead and surreal images of the subliminal consciousness was released on Hypnotic Dirge Records in March 2013.

Author: Screamer
Review
All Around Metal
4/5
11.10.2017

Uscito da circa un mesetto, il nuovo album degli americani Mesmur si preannuncia un lavoro prettamente di nicchia e poco incline all’essere commerciale. La recente opera del quartetto, denominata S, è totalmente dedita al funeral doom metal che però nasconde negli oscuri meandri del proprio sound delle piccole sorprese che rendono più dinamica la musica proposta. Pur essendo composto da quattro lunghissime tracce, l’ascolto del disco scorre in maniera fluida senza cedere troppo alla noia.

L’inizio con “Singularity” mette fin da subito le cose in chiaro su cosa si andrà ad ascoltare. Ritmi lentissimi e sfibranti con note dilatate fino allo sfinimento in una sorta di mood cosmico/spaziale caratterizzato da cori apocalittici in sottofondo, growl vocals lontane come fossero un eco, tastiere lugubri e disturbanti, arpeggi melodici cupissimi (mai invasivi e perfettamente inseriti nel contesto) e per finire viene inserito pure in intermezzo psichedelico e sognante. Durante l’ascolto saltano all’orecchio bands come Neurosis (per le atmosfere apocalittiche) ed Esoteric ma già dalla seconda traccia “Exile” le cose cambiano con un andamento più placido dal tocco quasi anni 70’ con tastiere (molto vintage che profumano di film di fantascienza del passato) e chitarre morbide e molto improntate alla melodia, stemperata in parte dal growl maligno. Strumentalmente tutto è minimalista e poco incline all’esplosione o al mettersi in mostra, piuttosto ogni strumento funge a dipingere paesaggi nerissimi ed oscuri come in “Distension”, allucinato viaggio dalle tinte elettroniche con un’aura simil sinfonica contornata dal ritorno delle tastiere sempre più occulte e tetre. Viene espresso quasi un concetto di viaggio descritto mediante la musica che si conclude con la titletrack “S”, una traccia strumentale fatta di echi, rumori, soffocante, visionaria e psichedelica con l’immissione di partiture ambient e di elettronica.

Sicuramente un ascolto difficile e votato unicamente o quasi agli appassionati di doom metal, eppure consigliamo a tutti di concedere al disco una possibilità. La musica dei Mesmur pur essendo massiccia ed impenetrabile, contiene dei piccoli spiragli di luce che potrebbero attirare una differente schiera di appassionati. Consigliato!!!

Author: ENZO PRENOTTO
Review
MoshPitNation
4/5

So to begin with, what precisely is an Odradek, and why should it require its own room. The answer is as complicated as this album. Apparently it can be lots of things, first appearing in a short story entitled “The Cares of A Family Man” by author Franz Kafka somewhere between 1914 to 1917. Many different meanings can be can be taken from the word.

The tale itself is creepy enough. To surmise, an object that has will, but has become somewhat less of itself. A harmless enough critter, but one that refuses to be examined at close range, so you can’t quite get a grasp of what it actually is. It will move, which considering it is supposed to be almost like a star shaped spool that once may have held some thread, seems almost impossible, implausible even.

And yet it does. Sometimes appearing in the strangest of places, sometimes being quite the conversationalist if you so choose to speak to it, other times not so. It seems to not care. It is the thing inside your head. Although apparently harmless, does it exist? We will leave that to the minds of others, because it is almost nonsensical, is it not?

This album is as baffling as its description. That is the only way I can describe it. An object that has will, more timid than outright fierce. More shapeless than a form, but it is something to behold. When you get a glimpse of its form, it will amaze you. If you are not paying attention it will remind you that it exists, and rightly so. After all it’s harmless right?

‘A Man of Silt’ is exceptional. The strangest thing you will hear for a long time. If you are prepared to admit it exists, the next question is what form does it present itself to you as.

I found that it did indeed speak to me at times and is as heavy as the idea that something is haunting you one moment, as benign as when you realise that you can co-exist.

I do not classify this as Death or Doom or anything else. This IS the Odradek. Who really knows what it is….
Review
Power Metal.de
9.5/10
12.03.2018

Melancholischer Prog Metal der Extraklasse

Man hat schon fantastische Symbiosen aus Melancholie, vertracktem Prog Metal und sphärischen Post-Rock-Sounds gehört. Nicht zuletzt Bands wie PAIN OF SALVATION und OPETH haben einer jüngeren Musikergeneration in den vergangenen Jahren Tür und Tor geöffnet und sich an die Spitze einer Bewegung gesetzt, dessen unmittelbarer Einfluss so viel neue Kreativität geweckt hat, dass man schon kaum mehr die Übersicht über all die vielversprechendes Acts haben kann, die in letzter Zeit mit überwältigenden Releases für Furore gesorgt haben. Eine Gruppe, die man in dieser Aufzählung künftig auch nicht mehr vergessen darf, sind die Ukrainer von ODRADEK ROOM, die mit ihrem aktuellen Silberling fast schon das Höchstmaß an kompositorischer Genialität erreichen. “A Man Of Silt” ist verträumter Post Metal mit vielen progressiven Twists, einer Reihe stilfremder Elemente und trippigen, maanchmal beinahe schon psychedelischen Momenten, die bis zu den experimentellsten Gedanken eines Steven Wilson reichen, dessen musikalisches Ausnahmetalent auch an diesen Osteuropäern nicht spurlos vorübergegangen ist.

Dabei ist ODRADEK ROOM zunächst mal eine dieser typischen Prophecy-Bands und könnten eigentlich blind dem hiesigen Label für bewegende Düstersounds zugeschrieben werden. Doch die Ukrainer agieren noch im tiefsten Underground, müssen sich erst noch etablieren, sind mit den acht neuen Stücken aber auf bestem Wege, die Szene in einem Gewaltaktzu überrollen, und sei es nur mit den vielfältigen Emotionen, die sich in den aktuellen Kompositionen verbergen. Vieles wirkt dabei frei improvisiert, vor allem die ausdauernden Instrumentalpassagen, in die das Album eingebettet wurde. Und dennoch verfolgt die Band einen klar ausbalancierten Masterplan, der sich an einem wiederkehrenden Kontrastprogramm aus experimentellen und eindringlich-melodischen Augenblicken entlanghangelt, dabei auf vertrackte, nicht sofort durchschaubare Arrangements baut, zuletzt aber doch die größte Kraft aus diesen bewegenden, OPETH-affinen Melancho-Momenten zieht, die “A Man Of Silt” weitestgehend beherrschen.

Dieses Album ist ein weitreichendes, meist düsteres Abenteuer, das mit jedem weiteren Durchgang noch mehr von seiner schwer zu greifenden Schönheit offenbart. Und ODRADEK ROOM ist letztlich nur ein weiteres Beispiel dafür, dass die Szene in der Ukraine explosionsartig an Bedeutung gewonnen und im europäischen Osten langsam aber sicher die Vormachtstellung erkämpft hat. Ein fantastisches Album wie dieses hat hieran maßgeblichen Anteil!

Author: Björn Backes
Review
Stormbringer.at

Gerade post-metallische, progressive und doom-metallige Klänge versetzen den Hörer mitunter an Orte, die völlig frei von Raum und Zeit sind. Welten nur aus Abstrakta: ein Schweben in Gefühlen. Die ukrainischen Kafka-Fans ODRADEK ROOM treffen genau in dieses Feld, mahlen zusätzlich ordentlich mit der Melodien-Mühle und salzen mit etwas Death Metal. Je entrückter, ambientiger und atmosphärischer der Klang von „A Man Of Silt“ und je zurückhaltender die verschiedenen Gesangsstile, desto beeindruckender ist das Album. Für das gänzlich meditative Forttreiben agiert es jedoch zu progressiv und besitzt zu spontane Brüche und zu aggressive Death-Vocals, aber auch das hat seinen Reiz.

Author: Jazz
Review
Dutch Metal Maniac
17.01.2018

Since 2010, guitarist Ilya Zernitsky, bassist/keyboardist Sergey Kuznetsov, drummer Roman Borovikov and Artyom Krikhtenko, who takes care of vocals, guitars, keyboards and samples, make music together under the moniker of Odradek Room. Odradek Room’s musical style is kind of progressive death/doom metal, but they regularly cross those boundaries. In 2013 they released their promising debut album, called Bardo. Relative Reality. Since October 12th it got a successor. It is named A Man Of Silt and is released as a co-release between Hypnotic Dirge Records and BadMoonMan Music.

So, close your eyes and let the relaxing, dreamy intro Arising In The Void lead you to the world of Odradek Room. A Man Of Silt truly is a great journey through a dreamy, atmospheric world. The basis of A Man Of Silt are atmospheric, often even epic soundscapes. Of course the drums, bass and guitars are regularly present, with Roman Borovikov’s drumming skills standing out the most. Sometimes Artyom Krikhtenko’s vocals are added, which are phenomenal no matter what style. Whether he grunts, screams or sings with clean vocals, in for example the beautiful Texture Of Reality, Artyom Krikhtenko can do everything with his voice!

While Odradek Room’s music is dreamy, it for sure isn’t boring. Variation is very important on A Man Of Silt, with the tempo- and rhythm-changes being present. A perfect example of this, is the earlier mentioned Texture Of Reality. It has a slow, acoustic start followed by a hellish scream and a very nice guitarsolo before going back to rest again. For Odradek Room, crossing boundaries isn’t a problem. They let us hear influences from for example, prog-, doom- and post-metal, but the start of Mirror Labyrinth sounds even a bit atmospheric black metal-like. Another track which is really standing out on A Man Of Silt is the beautiful Rain Trip. Beautiful female vocals can be heard and the addition of a sax, a unique and unusual instrument in metal, is a real plus. After Divide, which is the heaviest and longest track on A Man of Silt, it is time for the relaxing, hypnotic outro Conditional Eternity. When this outro has ended you are finally aware about how fast the past 50 minutes flew by and you probably want to enter Odradek Room’s world again immediately. What an album!

A Man Of Silt is not only a great album, but it is a whole experience on itself. Odradek Room delivers a phenomenal album, very recommended for sure.

Author: Tim van Velthuysen
Review
Iye Zine
8.4/10
15.11.2017

Quello degli ucraini Odradek Room non è il tipico death doom che ci si attenderebbe quando viene accompagnato dal marchio Solitude, questa volta tramite la sublabel BadMoodMan e in associazione con la canadese Hypnotic Dirge.

Non che l’etichetta russa sia solita proporre il genere nelle sue vesti più scontate, anzi, ma diciamo che nella maggior parte dei casi le band che fanno parte del suo roster offrono un doom dalla preponderante componente emotiva.
Il quartetto di Mariupol, invece, con questo A Man Of Silt prosegue il discorso iniziato quattro anni or sono con l’esordio intitolato Bardo. Relative Reality, immettendo nel genere un’ampia dose di post metal e di pulsioni progressive.
Ne deriva pertanto un album che necessita d’essere lavorato con una certa pazienza per coglierne l’indubbio valore, visto che qui non troviamo quelle aperture melodico/atmosferiche capaci di colpire al cuore con immediatezza, ma piuttosto un approccio obliquo e molto tecnico che, ad un primo approccio, fatica appunto non poco a lasciare delle tracce.
Del resto, anche concettualmente il death doom degli Odradek Room si pone in maniera anticonvenzionale, fornendo in tal senso un indizio decisivo fin dal monicker che si ispira al personaggio di un racconto di Kafka, e a A Man Of Silt si rivela così un’efficace quanto complessa elaborazione del genere, restituendolo nelle sue vesti più rarefatte e liquide.
La complessità dell’ascolto è testimoniata dal fatto che il primo abbozzo di chorus memorizzabile arriva nella bellissima quarta traccia Mirror, ma già nella successiva Rain Trip i riferimenti jazzistici offerti dai fiati ammantano il brano di un’aura crimsoniana rafforzata da un lavoro chitarristico di grande pregio, mentre Silt Flower prosegue nell’opera di decostruzione del genere così come siamo abituati ad incrociarlo.
Nel complesso l’intero album è contraddistinto da una naturale eleganza, oltre ad un invidiabile equilibrio compositivo che conferma gli Odradek Room come l’ennesima grande band doom proveniente dalle fredde lande dell’est europeo, con soprattutto la scena ucraina in primissimo piano (e ne è eloquente dimostrazione l’importanza che ha assunto un evento magnifico come il Doom Over Kiev, alla cui ultima edizione i nostri hanno ovviamente preso parte).
Non resta che fare i più sentiti complimenti a questi ragazzi, invitando gli appassionati di death doom dal palato più fine a fare proprio A Man Of Silt.

Author: STEFANO CAVANNA
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