Mesmur - S (CD)

funeral doom metal, Solitude Productions, Solitude Productions
533.33 Р
Price in points: 800 points
SP. 127-17 x
In stock
The followup to Mesmur"s crushing eponymous debut, "S" is an apocalyptic funeral doom exploration of the madness of the cosmos. Combining plodding and malicious riffs with icy abyssal atmospheres, "S" creates a disturbing yet often beautiful representation of the chaotic void that is our universe.An echoing thud in the chamber of human suffering, Mesmur aims to capture the sounds of a world that was doomed from the beginning. Led by the mastermind that brought to life the progressive black metal band Dalla Nebbia, Mesmur is funeral doom with a little bit extra. Blending influences ranging from the funerary dirges of Evoken to the mesmerizing atmosphere of Neurosis, Mesmur shows versatility in a genre where simplicity usually reigns.

1 Singularity 15:06
2 Exile 14:35
3 Distension 16:24
4 S = k ln Ω 6:48

Artist Country:
Album Year:
funeral doom metal
CD Album
Jewel Case
Solitude Productions
Cat Num:
SP. 127-17
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Mesmur are an international band with members from the United States, Australia and Italy and plays funeral doom metal and this is a review of their 2017 album “S” which was released by Solitude Productions.

A very slow, heavy and dark funeral doom metal sound starts off the album along with some atmospheric synths in the background while the riffs also bring in a decent amount of melody and after awhile deep death metal growls start to make their presence known and most of the tracks are very long and epic in length.

When guitar solos and leads are utilized they are done in a very dark yet melodic fashion while all of the musical instruments have a very powerful sound to them and when screams are utilized they also add in a touch of black metal along with clean playing also being added into certain sections of the recording.

At times the music gets very experimental and progressive along with some touches touches of ambient and drone while spoken word parts are also used briefly and all of the songs stick to a very slow musical direction and you can also hear some elements of 90’s era doom/death metal at times and the closing track is an instrumental.

Mesmur plays a style of funeral doom metal that is very slow, dark and heavy while also being very experimental at times, the production sounds very professional while the lyrics cover paranoia, hopelessness, death, cosmos and apocalyptic themes.

In my opinion Mesmur are a very great sounding funeral doom metal band and if you are a fan of this musical genre, you should check out this recording. RECOMMENDED TRACKS INCLUDE “Singularity” and “Distension”.

Author: OccultBlackMetal
Iye Zine

Attendevo da tempo un nome nuovo che andasse ad arricchire con la propria presenza la scena funeral doom, stante il prolungato fermo negli ultimi anni di gran parte delle band storiche.

I Mesmur giungono a colmare questo momentaneo vuoto con un’opera monumentale come S, non solo confermando quanto di buono avevano già fatto con l’omonimo album d’esordio ma addirittura perfezionando e focalizzando al meglio le caratteristiche del genere.
Il questo d’ora di Singularity profuma già di capolavoro, con il funeral che ascende alle vette sulle quali stanno assise band come Esoteric, Evoken, Ea, Mournful Congregation, Monolithe e Worship, dalle quali i Mesmur attingono il meglio per tessere il loro dolente disegno musicale.
Il fondatore e compositore principale della band, lo statunitense Jeremy Lewis, con il suo lavoro alla chitarra e alle tastiere delinea un incedere sofferto ma carico di emotività, almeno nella traccia d’apertura e nell’altrettanto lunga e successiva Exile: qui la sei corde produce un lamento lancinante prima che il growl dell’australiano Chris G, vocalist anche degli ottimi Orphans Of Dusk, prenda il sopravvento scaraventando il sound in un abisso di oscurità.
Il gruppo è completato da una coppia ritmica decisamente incisiva ed altrettanto dinamica (se rapportata al genere, ovviamente) formata dal batterista John Devos (assieme a Lewis nei blacksters DallaNebbia) e dal bassista italiano Michele Mura (ex Lightless Moor): un’internazionalità che conferma per i Mesmur lo status di progetto (almeno per ora) esclusivamente da studio (del resto anche nel precedente album il basso era affidato ad un musicista residente nel vecchio continente, nella persona del norvegese Aslak Karlsen Hauglid).
Distension, terza traccia che viaggia sempre sul quarto d’ora abbondante di durata, mostra maggiori dissonanze e, se possibile, si trascina in maniera ancor più sofferta rispetto ai precedenti brani, ritrovando uno struggente barlume melodico nella sua part finale.
S = k ln Ω chiude questo splendido lavoro con sei minuti strumentali in cui l’ambient drone iniziale si stempera in note intrise di una malinconia cosmica, tratto preponderante di un’opera magnifica che si propone come la migliore per distacco del 2017 in ambito funeral, salvo auspicabili smentite in questi ultimi mesi.

Author: Stefano Cavanna
Dark Art Conspiract

A singularity is the point in a black hole where density becomes infinite, space-time bends, and the laws of physics as we know them cease to operate.

This is the perfect way to describe Mesmur’s newest album “S,” an infinitely dense soundscape that bends space and time around the listener. A meandering funeral dirge through the chaotic void that is the universe. A universe that was doomed from the start.

Mesmur is a funeral doom metal collaboration with members hailing from different parts of the globe: the U.S, Australia and Italy. Led by Yixja, the mastermind that brought to life the progressive black metal band Dalla Nebbia, along with vocalist Chris G (Orphans of Dusk), drummer Alkurion (Dalla Nebbia and Funeral Age), and bassist Michele M.

“S” is their second album, after their self-titled success, “Mesmur.” “S” will not disappoint fans of the genre. It does everything that funeral doom metal is supposed to do with a bit extra. Influences range from Evoken to Esoteric, Ea, Mar de Grises, Comatose Vigil, Ahab and Neurosis.

The music is not supposed to be “enjoyed,” but “experienced.” The synthesizer does a great job of creating a melancholic atmosphere that bends and fluxes around guttural vocals and discordant riffs that at times torture the listener with the dissonance of a dentist’s drill. At some points the distortion is very grainy. I’m not sure if that was an intentional choice or a flaw in the production. I also wasn’t a fan of the overdose of sound effects, but I suppose that was part of the experience.

Let’s talk about why the album was named “S.” The final track is called “S = k ln Ω.” This equation refers to entropy. I am not smart enough to give the exact definition justice, but put simply, entropy refers to a lack of order or predictability and the gradual decline into disorder.

I believe the song “S” along with the album encapsulates that theme. Each track is a progression into more chaos and disorder, with the first track being “Singularity” (an infinitely small but dense single point), followed by “Exile” (something going outward), “Distension” (enlarging, dilation, a ballooning effect), and finally “S” (breaking down into chaos). Indeed the first track is more tightly formed and dense than the rest, with harder distortion and more riffage. Each following track becomes more disorderly until you get to the end, which is almost an overkill of sound effects, and at times sounds like someone fell asleep on the synthesizer. But as a thematic representation of the expansion and break down of the universe, it’s fucking brilliant.

I also noticed that the cicada-like sound effects that ended the first song were played in the beginning of the last song. Were the artists trying to make an “S” shape through the album, or was that just a cool coincidence? Who knows? As one reviewer said, “If you look long into the abyss the abyss will look back. ‘S’ is the sound of the abyss looking back.” Perhaps I stared too long into the void with this one. “S” is a delicious descent into entropy. Each time you listen, there are new mysteries to discover.

So check out “S,” the sound of the universe’s demise.

Author: darkartconspiracy
Metal Injection

Finally, the weekend is upon us. What better way to kick it off than with the latest installment of “Funeral Doom Friday”. For those who are new to this column; each week features a new or classic album from the realm of extreme doom. Much of funeral/death doom’s might comes from an oppressive emotional weight and the use of death or black metal motifs (played at a trudging pace, of course.) Pioneers like Mournful Congregation, Evoken, and Esoteric have mastered this blend of dirge and destruction. For 25 years, they have methodically built compositions that stretch for dozens of minutes all while keeping fans enthralled. Time has elapsed since the days of Thergothon and much like the world around us, the genre has evolved. Today’s modern bands contort the very construct of the genre, breeding darkly refreshing new work. Their work thankfully gives this column plenty of material to share.

Enjoy this week’s post and check out prior features here. Please feel free to also share thoughts or suggestions for future installments in the comments section below or to me directly on Twitter.

The closing instrumental track of Mesmur’s second full-length album, “S = k ln Ω”, gets its name from Ludwig Boltzmann’s classic formula for statistical entropy. The Austrian physicist became so synonymous with the formula and his works tied to it that it eventually emblazoned his tombstone. Interestingly enough, Boltzmann’s original formula read as S = K(b) lnW. “S” represents the total value of entropy whereas “k” is a constant value. “W” meanwhile referred to a probability that something known as a macrostate would occur. However, the Ω value that Mesmur presents is a symbol for the attempt to group infinite amounts of microstates into a subsequent macrostate.

The infinite amount associated with Ω consequently brings the formula towards the second law of thermodynamics; or: “the total entropy can only increase over time for an isolated system, meaning a system which neither energy nor matter can enter or leave.” For the international effort of Mesmur, their isolated system is the universe portrayed by their music. Their entropy—or S as the album is titled—is an ever-shifting, unpredictable display of cosmic funeral doom. The opening song, “Singularity”, strikes right away with Evoken-like force. Ominous and oppressive, it trudges on with riffs that seem to continue to slowly crawl towards the heavens.

Guitarist and synth-wielder, Jeremy Lewis, handles much of this celestial dirge. Jeremy said in a statement regarding the release of S; “This album is very different from anything we’ve done before. The compositions, the production, the atmosphere, and the lyrical subject matter are all much bigger in scope than on our debut, and I think that these elements work together to create a frightening and unsettling, but hopefully also captivating view of the universe- doom on a cosmic level. I’m really excited to release this record.”

S is certainly big and captivating. Lewis is joined by the thunderous bellow of Chris C, drummer John Devos, and bassist Michele Mura. As S progresses much of the shifting styles start to emerge. “Exile” and “Distension” begin to weave in textured melody to a menacing low-end. The aforementioned closing track, “S = k ln Ω”, is a synth-heavy spiral into the infinite ends of the cosmos. The subtle and eerily soothing finale puts a sensational and somewhat contrasting cap on the quartet’s newest offering.

What Mesmur has accomplished on this record is, without doubt, something remarkable. Their universal focus rivals that of another recent project of Imperceptum. It also simultaneously calls to mind some of funeral doom’s earliest veterans as well. Notably, there were touches of Esoteric amongst the compositions as well as the earlier mentioned Evoken. Listen to S below and follow Mesmur on Facebook.

Author: Cody Davis

You may remember Mesmur from their self-titled 2014 debut, which – after a few digressions – saw physical release through Code666 Records, perhaps unjustly more usually noted for their eclectic and experimental roster than their steadily-expanding Doom catalogue. As a side-project of Prog/Black Metal band Dalla Nebbia, it set out to explore the boundaries of extreme Death/Funeral Doom, and did so with some considerable success. Well, hopefully, you took our advice on that and picked up a copy; if not, you’re about to get the chance to discover sophomore release ‘S’, coming out through the unambiguously Doom conduit of Solitude Productions.

While it may be fair to say that a Solitude tag is a guarantee of Doom provenance rather one of automatically essential purchasing, you should definitely consider adding ‘S’ to the latter category. I couldn’t say that – on the surface, at least – Mesmur have departed radically from the formula of the debut, but, regardless, they’ve produced a worthy extension of it. Essentially, you’re getting three long (and one shorter) lush Funeral-paced Death/Doom compositions straddling a quite distinct balance between the melodic and the dissonant, and continuing the solid bedrock laid down by the album ‘Mesmur’. Indeed, if you were going to contemplate anything along the lines of “the difficult second album”, it would only be in the sense that ‘S’ is following on from a debut that basically got everything very right – it really didn’t leave a lot of headroom for obvious or easy improvement.

So, in the same vein, and definitely from the same hands (there’s only been a change of bassist, though the Dalla Nebbians are now credited by name rather than pseudonym), but not necessarily the same album. Partly down to a production which is a little louder and seems to have more of a treble bias, it sounds sharper and just that bit more angular, while the conceptual theme is more focused around the madness of the cosmos. Style-wise, it still has that quite brutal yet melodic core, with crashing guitar and deep growled vocals, that has echoes of My Shameful, while the more Prog-rock and spacier elements variously call to mind Mar de Grises and Esoteric, and – such as on ‘Exile’ – the shades of Porcupine Tree and ‘Atom Heart Mother’-era Pink Floyd hover somewhere in the background. The shortest and dreamiest track, closer ‘S = k ln Ω’ (Boltzmann’s entropy equation, if you’re interested. Thought I’d just slip that in for extra smugness, since I didn’t even have to look it up, despite not having looked at thermodynamics for a shockingly large number of years…) even carries some keyboard work that evokes thoughts of early Jean-Michel Jarre. And it’s all wrapped in some stylish artwork, by Cadaversky, that does a great job of depicting all those aspects.

These, obviously, are all good things in their own right, and credit has to go to band mastermind YixJa/Jeremy L (music, lyrics, guitar and synths) for combining them in such a way that they remain good things when unified under a broadly Death/Doom banner. And that, perhaps, is the greatest strength of Mesmur’s work so far: that it is genuinely eclectic in its approach, yet sounds completely natural in the way that meshes together. There’s very little reliance on riff or repetition, instead the various guitar and keyboard instrumental lines thread together and flow continuously onwards. And though it does have that strong Prog feel, there’s no sense of avant-garde experimentalism ‘for the sake of it’, just a smooth set of transitions and evolutions that span the entire album. Much as with ‘Mesmur’, in fact, ‘S’ presents just as strong a collection of individual tracks that are actually stronger when considered as a part of the synergistic whole of the album.

I genuinely can’t think of any reason why this shouldn’t have across-the-board appeal to extreme Doom fans of all persuasions. Nor can I find anything of any substance to criticise in either design or execution. OK, that might sound a little like sitting on the fence of “if you like this kind of thing, you’ll love this album”, but it isn’t meant that way. It’s more that Mesmur have managed to hit a proper Doom ‘sweet spot’ twice in a row, and I’m not a great believer in that sort of thing being pure coincidence. So – this is a band you probably should be both interested in and investing into, if you haven’t already discovered them and been waiting for this sophomore. Either way, it comes highly recommended as one of the contenders for a top placing on my ‘best of 2017’ list.

Author: Mike Liassides

Mesmur is een Funeral Doom band die is samengesteld uit bandleden komende uit Australië tot Amerika. Uit zowat de hele wereld dus. Wat Mesmur een internationaal project maakt. Over hun titelloos debuut, medio 2015, schreven wij: Elk van de songs op Mesmur is van een heel hoog niveau en doet de luisteraar wegzinken in een depressieve, donkere roes, waaruit je niet wakker wil worden. Circa 52 minuten worden we onder gedompeld en meegezogen tot de diepste dallen van onze ziel. Zonder meer is dit een debuut dat niet alleen je hart diep raakt. Ook is het van technisch heel hoogstaande kwaliteit, en een must have plaat voor de liefhebbers van funeral doom tot pure doom metal. Op 15 september komt eindelijk een gloednieuwe schijf op de markt. S. Of er iets veranderd is aan het gedoodverfde concept? Niet zoveel, maar daar zijn we totaal niet treurig om.

Elk van de songs heeft een duurtijd van circa 15 minuten. Om de aandacht dan scherp te houden, dan moet je wel heel sterk in je schoenen staan. Mesmur slaagt er echter in je telkens opnieuw onder te dompelen in een diep bad, van walmen van intensieve duisternis. Een song als Singularity is een vijftien minuten lange trip, doorheen de donkerste gedachten van je ziel. Mesmur hypnotiseert de luisteraar als het ware, door klanken naar voor te brengen die je gegarandeerd koude rillingen bezorgen tot de bot. Binnen die eerste song zitten zoveel tempowisselingen, en een subtiele vocale inbreng als kers op de taart, waardoor je gewoon gewillig u laat meevoeren over die duistere paden. Exile is wederom zo een intensieve song, die aanvoelt alsof je strot wordt dichtgeknepen. De haren op onze armen komen prompt recht te staan. Ook bij de daarop volgende meesterwerken Distension, S = k ln Ω blijft dat intensieve gevoel vanbinnen, stevig overeind staan.

S durven we zonder meer omschrijven als grensverleggende Funeral Doom, van de meest pure soort. Mesmur zorgt er met langgerekte, vaak instrumentale, songs de aandacht van begin tot einde scherp te houden. Door ons een trip aan te bieden die ons een krop in de keel bezorgt en de haren op onze armen doen recht komen, telkens opnieuw. Waarna de verschroeiende, subtiele vocalen, je uiteindelijk die ultieme doodsteek geven. Met het angstzweet op de lippen, rillende van innerlijk genot, doen we die trip nog eens over. Tot we totaal verweest en buiten adem onze demonen strak in de ogen durven kijken.

We kunnen dan ook besluiten:

Over het debuut schreven we ook: Als er muziek zou moeten gedraaid worden op onze begrafenis, mag dat gerust muziek van Mesmur zijn. En dat is een compliment. Een stelling die we trouwens ook kunnen doortrekken naar de nieuwste schijf S. Mesmur brengt een aangrijpende, grensverleggende Funeral doom plaat naar voor, die recht doorheen je hart boort. Zonder meer is S één ontontgonnen parel binnen dat genre, van uiterst uitzonderlijk hoog niveau. Om te koesteren. We halen er even de bewoordingen bij, die we te lezen krijgen op de bandcamp pagina van de nieuwe schijf: ” The followup to Mesmur’s crushing eponymous debut, “S” is an apocalyptic funeral doom exploration of the madness of the cosmos. Combining plodding and malicious riffs with icy abyssal atmospheres, “S” creates a disturbing yet often beautiful representation of the chaotic void that is our universe.” – Daar hebben we niets aan toe te voegen. Gewoon kopen die handel. En genieten van de walmen van pure intensieve duisternis, is ons advies.

Author: Erik Vandamme
Wonderbox Metal

This is Mesmur’s second album. They’re an international band and play atmospheric death/doom metal.

Featuring members of Dalla Nebbia, Mesmur play death/doom that offers the listener a little bit more than what they might usually expect to find for something with that appellation.

S combines funeral doom, death/doom, and post-metal into 53 minutes of apocalyptic despair. Think a mix of Monolithe and Esoteric, with a touch of some of Neurosis‘ more suffocating sludgy work. Crushing and monolithic, this is an album that’s as heavy as a planet and as dense as a neutron star.

The guitars offer ample distortion as well as some engaging melodies. The omnipresent synths sometimes turn to static, as if the band are intentionally channelling the cosmic background radiation into their music to further enhance the feelings of exploring deep and lonely space. By themselves both guitars and synths are highly effective at what they do. However, taken together they work so well that sometimes they seem to fuse into one atmospheric whole, drawing the listener in as they’re brutalised by deep deathgrowls.

This is music to gaze at the night sky to. While the oppressive nature of the limitless void crushes in on you, you feel hopeless and insignificant, especially as the cosmic grandeur of S unfolds around you with colossal grandeur and hideous beauty. Mesmur have crafted this music well, and it’s as devastatingly expansive as it is inhumanly unforgiving.

I like a good bit of death/doom, especially when it’s stretched out to epic lengths, has an apocalyptic funeral streak, and is heavily atmospheric. Mesmur don’t just hit the spot, they crush it utterly.

Author: wonderboxmetal
Permafrost Today

Å kalle ei skive bare S virker noe spesielt, men det er jo nå en gang det musikalske innholdet som er viktigst. Bandet bak S er Mesmur som stiller i klassen for funeral doom metal, og S ble sluppet for få dager siden. Skiva klokker inn på nesten timen men inneholder bare fire låter, og de er følgelig rimelig lange låter. Det trengs for Mesmur har mye de vil frem med, og deres tapning av funeral doom krever lange låter. Bandet er fra North Carolina og er en kvartett hvor spesielt Jeremy S på keyboards og gitarer og vokalisten Chris G bidrar mye til det dystre men ofte fascinerende lydbildet. S er amerikanernes andre skive etter den selvtitulerte debut som kom for tre år siden. Videoen er da også fra den skiva fordi bandet ikke har lagt ut noen fra S enda.

Lyrisk sett er det selvsagt ikke lystelig saker. Det handler om blant annet død, frykt, fortvilelse og et ekko fra lidelsenes kammer! På agendaen er også tematikk som isolasjon, paranioa, kosmisk kollaps og ødeleggelse av det menneskelig samfunn. Musikalsk sett så kan nok enkelte oppfatte det som superseig og monoton doom som nok kan bli kjedelig? For å bli trigget av denne musikken så må nok lytteren bli sugd inn i musikken og la seg fascinere og leve seg inn i musikken til kvartetten. Lytterene som vil få noe ut av Mesmur sin musikk må nok digge bandet og oppfatte musikken som ganske så suggererende i all sin heslighet.

Inspirasjonskilder til bandet er band som Evoken, Esoteric, Ea, Mar de Grises, Comatose Vigil og Neurosis. Sesielt sistnevnte er et band Mesmur skatter høyt. Coveret fra Gravdealer Studio passer glimrende til musikk i det der skildres en primitiv underjordisk by. Kanskje er coveret et symbol på ukjent apokalypse eller restene av en eldgammel sivlisasjon som led en ekstremt ublid skjebne? Mesmur byr på en «Lovecraftian» følelse av håpløshet for menneskeheten med sin ekstremt dystre musikk og intense musikk. Noe bandbilde byr de derimot ikke på!

Author: Ulf Backstrøm
The Grim Tower

The sophomore from international atmospheric death/doomers Mesmur is a much slower-paced, albeit spatial affair that truly seems to take you into the cosmos. In the nature of death/doom, the record features around ten thousand pounds of increasingly slow doom riffs, fronted by waves of potent and sometimes otherworldly melodies. It very much is a melodic doom release, which also benefits greatly from the level of electronics apparent in the last one, though to a much different level.

I will be honest though, as I found this one a bit difficult to get into from the start. It comes in at almost a grueling pace, but is decorated just well enough to give me a sort of euphoric feeling, which is sometimes accentuated in the vocal filters. There’s no clean singing here, but said filters can give the vocals a sort of inhuman presence, making the whole thing feel truly (excuse the pun) out of this world. There are four rather large pieces here, each one seeming to be much in the same vein as the last, with the album’s outro appealing the most to me as it seems to encapsulate one of the most brilliant representations of the surrounding stars, planets and galaxies that I’ve ever heard. Keep in mind, I’ve listened to NASA’s Voyager recordings (and may still have them on my hard-drive somewhere) which show space as a little bit melodic in itself. It almost feels as if we’re all the result of some remarkable tune of cosmic orgasm, by which this performance truly showcases.

Mesmur haven’t made a bad album yet, and though I couldn’t grasp onto it in the way that I could with the previous; I still would recommend the record for the sake of it’s own creativity and decision to go beyond the common applications found in death/doom, even in the atmospheric realms of it. Mesmur show that they’re not just good at making a death/doom recording, but that they can also illustrate the very stars themselves if given enough time. With a brillaint production value and enough unimistakable melodies flowing through this thing, I’d definitely consider it a solid release. If you’re looking for death/doom that mourns the world above, instead of the one we’re in right now, then I would have to recommend you check out Mesmur’s S. To be honest though, I’m trying to figure out what the “S” stands for. My first guesses were “Space” and “Superman” though I didn’t see the latter described within the disc’s linear notes. S seems just as bleak as I Have No Mouth, But I Must Scream and therein lies the appeal.

Author: Eric May
Head-Banger Reviews

Doom metal has long been a thing that has intrigued me when I first began my journey to becoming a more seasoned metal head, and it’s been a pivotal genre that makes up plenty of my playlists and CD collection. Yet, funeral doom has been something that’s, for the most part, eluded my grasp as I’ve only heard few examples of the genre despite me being a massive fan of incredibly long songs with crushing heaviness. Up to now, it’s been Bell Witch and Un that have been my go-to’s for funeral doom, but today I’m adding Mesmur to that small list for their sophomore effort is nothing short of applause worthy.

Such a cosmically stunning cover art can only contain material that’s both crushing and delicious in so many different ways, and that rings true with “S”. While the name of this sophomore album eludes me, I couldn’t care less because the eyes that were only Mesmur after their eponymous debut was more than obvious, thus there’s been plenty of anticipation build-up when it came down to a new effort to follow up on something great created by Mesmur. Needless to say, they fucking nailed it! “S” brings to the table four massive tracks that pack no less than a fucking brass knuckle to the jaw that’s an awesome display of what it means to be an up-and-coming name in the cosmos of funeral doom. With the execution of songs well over twelve minutes perfected, Mesmur had to worry about filling that time with tasteful tunes that actually appealed to their audience, and by throwing in an atmosphere with crushing heaviness the band succeeded miraculously in a way that it takes a true talent to bring everything together in the right proportions. To say that the right proportions were met with “S” is an egregious understatement. Mesmur hit it right out of the part with this album, and if there’s going to be any record from funeral doom that’s got nothing but my love and ultimate respect (outside of the possibility of Bell Witch’s impending record) then it’s going to be “S”, no question!

Heaviness and satisfaction often find a way to work in perfect harmony especially in doom metal, but Mesmur takes that concept to the vacuum of space and beyond with four tracks that are possibly the epitome of the genre for the entire year. Mesmur impresses yet again and not only prove that they aren’t just some fad that does one good album then taps out, but is also a force that’s to be trifled with to the very end. “S” from beginning to end absolutely fucking smashes, and anyone who wants to be taken on an experience of funeral doom that’s all but required for the style then you’re going to want to take a dip in the realm these Americans have crafted for us.

Author: Vinterd
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