Mesmur - Terrene (CD)

funeral doom metal, Solitude Productions, Solitude Productions
8.18 
Price in points: 900 points
SP. 149-19 x
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The third album "Terrene" from international death/funeral doom act Mesmur is a colossal and moving sonic rendering of a dying world. Where their 2017 album S operated on a cosmic scale, Terrene explores similar themes of entropy and impending chaos in a more terrestrial context, and is rife with the suffocating dirges and toxic atmosphere the band is known for. Featuring guest flute and cello performances by Don Zaros of Evoken and the Russian Nadia Avanesova, and another stunning cover design by Ukranian painter Cadaversky, Terrene reaches new levels of scope and ambition for Mesmur in their objective to create a vast and immersive doom metal experience.

Tracklist:
1 Terra Ishtar
2 Babylon
3 Eschaton
4 Caverns Of Edimmu

Artist:
Mesmur
Artist Country:
International
Album Year:
2019
Title:
Terrene
Style:
funeral doom metal
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat No:
SP. 149-19
Release Year:
2019
Barcode:
4627080611702
Country Of Manufacture:
Russia
Review
Wonderbox Metal
26.11.2019

This is the third album from international doom band Mesmur.

Mesmur’s 2016 album S was a heavily atmospheric slab of funeral death/doom, one which was notable for its depth of mood and delivery. The band have now returned with four new imposing songs, clocking in at 55 minutes.

Terrene is a crushing exploration of darkness and woe, focusing on the planet Earth and its multitude of miseries and troubles.

The songs are slow and deliberate, unfolding gradually into bleak soundscapes, with intoxicating forlorn melodies and richly gloomy atmospheres. It may be slow and despondent, but it’s by no means one-dimensional or boring; Mesmur know very well what they’re doing with the style. The songs are well-written, and each track transports the listener to apocalyptic worlds filled with terrifying existential horrors.

The music is enriched with synths, as well as, in places, cello and flute, (the latter two coming from guest musicians). The album’s tapestry is one made up of high quality material, and it’s quite easy to lose yourself in the warp and weft of the band’s compelling creation. Across four monolithic, glacial songs, Mesmur spread their emotive brand of misery for all to see and weep. It’s an engaging, absorbing experience, one which is well worth having for any fan of funeral doom.

Highly recommended.

Author: WONDERBOXMETAL
Review
Grind on the Road

Energia, adrenalina, decibel a profusione, crani e membra ininterrottamente attraversati da una corrente che genera fremiti e sussulti più o meno armonici… dalla solitudine delle camerette di adolescenziale memoria agli eventi collettivi sotto palchi inesorabilmente inondati di sudore, l’immaginario collettivo associa pressoché pavlovianamente l’idea del metal fan a quella del “movimento”, secondo coordinate debitrici dei debutti settantiani del genere con le annesse progeniture rock/blues. Se, però, si può ritenere valido e attendibile un cotale quadro di insieme per gran parte delle band che orbitano intorno al grande astro in cui brucia imperituramente idrogeno di conio zeppeliniano, un manipolo di schegge impazzite figlie dell’eredità sabbathiana si è via via allontanato dal cuore della galassia, finendo per occupare i gelidi spazi siderali dove sopravvive a stento l’eco del metal big bang primigenio. Ed è qui, in una sorta di nube di Oort pentagrammatica sospesa tra fissità e cristallizzazioni del ritmo, che hanno preso dimora le traiettorie artistiche generalmente catalogate come funeral doom, a identificare un sottogenere ad alto tasso di spopolamento e con pari quoziente di difficoltà sia sul fronte della proposta, sia su quello della fruizione ed è ancora qui che, a due anni di distanza dall’ottimo S, ritroviamo ancora una volta in grande stato di grazia creativa il quartetto dei Mesmur.

Partiti nel 2014 con un album ancora intriso di suggestioni doom/death di marca Esoteric, con il citato S i Nostri avevano affrontato tematiche scientifico/filosofiche alzando gli occhi al cielo e descrivendo il destino che attende il nostro universo alle prese con la forza disgregatrice e infine letale dell’entropia, che porterà alla morte termica l’intero sistema. Musicalmente, in quel platter erano stati messi a (proficua) dimora diversi spunti e arricchimenti rispetto al debut, a cominciare da un gusto atmosferico decisamente più affinato (i riflessi Shape of Despair possono essere un’ottima cartina di tornasole), passando per le andature cadenzate alla Skepticism, per approdare infine a non rare escursioni in lande black, dove si potevano scorgere nitidamente orme Gris. Completata l’esplorazione della volta celeste, i Mesmur scelgono stavolta il nostro pianeta e la nostra specie come oggetto di riflessione per questo Terrene, trasportando nel microcosmo dell’umana dimensione lo stesso senso di ineluttabile rovina inscritta nel codice genetico dell’universo. Come abbondantemente chiarito dai titoli delle singole tracce, lo scenario è quello di una Mesopotamia che, da culla della civiltà (almeno quella occidentale), ne diventa la tomba certificando il fallimento delle pretese di immortalità e di tutti gli affanni delle generazioni che si sono succedute coltivando la speranza se non altro di esserci, nel momento in cui calerà il sipario sull’esperienza del mondo conosciuto. Così, in una sorta di concorso di colpa tra ciò che il fato ha immutabilmente imposto fin dalla creazione e gli errori che abbiamo accumulato accelerando la fine di uno spettacolo sempre meno edificante, l’ultima dimora collettiva prima dell’apocalisse saranno le stesse caverne da cui tutto ha avuto inizio, stavolta senza la speranza di prometeiche conquiste ma, anzi, inseguiti dalla consapevolezza della caduta. Intorno a questo tema i Mesmur apparecchiano un’impeccabile macchina scenica, al cui centro troneggia una nuova Babilonia in cui la materia, lungi dal rappresentare lo strumento di una sia pur vana sfida al cielo, si è rivoltata contro i costruttori e chiude minacciosa la vista dell’orizzonte e del futuro. Ecco allora innalzarsi quattro monoliti impenetrabili e dalla durata chilometrica, in cui monumentalità e spettralità si contendono il primato e dove filtra a stento una luce crepuscolare che, lungi dal rivestire una funzione vivificante o almeno consolatoria, diventa un ulteriore strumento per instillare vapori sinistri nel corpo dei brani. L’opener-monstre “Terra Ishtar” chiarisce immediatamente a quale stadio di maturità sia ormai approdato il quartetto (e non è certo un caso che il buon Semenov se li sia tenuti stretti, sotto le insegne Solitude Productions), capace di tenere altissimo il livello di attenzione per diciassette minuti da trascorrere su un altopiano spazzato dai venti gelidi in arrivo dai ricami di sei corde, tastiere e mellotron di un sempre ispiratissimo Jeremy Lewis, ma in grado del pari di regalare l’incanto di un inserto malinconicamente melodico su cui si allungano ombre Swallow the Sun, Saturnus e Doom:vs. I ritmi diventano più pachidermicamente solenni nella successiva “Babylon”, offrendo al vocalist australiano Chris G l’opportunità di sfruttare appieno, in modalità che oseremmo definire “liturgica”, tutte le potenzialità del suo growl più sabbioso che catacombale, perfetto per intercettare il cadenzato incedere del basso di un Michele Mura semplicemente perfetto nel ruolo del cerimoniere nero. Con “Babylon” si apre anche il capitolo-ospiti (qui tocca a Don Zaros, in libera uscita dalle tastiere della casa madre Evoken, cimentarsi con il flauto), completato dalla violoncellista russa Nadia Avenosova che impreziosisce “Eschaton”, forse la traccia più multicolore del lotto tra i delicati arabeschi dell’avvio, un riuscito gioco di appuntite dissonanze che sfociano in un inatteso momento contemplativo e un gran finale in cui il drummer John Devos trova modo di esaltare le pulsioni black che fanno ormai parte del corredo genetico della band. Chiude il viaggio la spettrale “Caverns of Edimmu”, ultimo, disperato inno di un genere umano rintanato nell’unica dimensione rimasta ad accoglierlo; realtà o metafora poco importa, basta un solo verso per racchiudere il (non) senso del finale di partita che ci attende: “Catacombs, our home”…

Denso e oscuro ma attraversato da delicate linee poetiche pronte a emergere in superficie potenziando il senso complessivo di straniamento, palcoscenico desolato su cui rendere drammaticamente visibile e reale l’incontro tra individualità degli incubi e collettività di un destino ostile, Terrene è un album che entra di diritto nel ristretto novero delle eccellenze funeral doom ben oltre il recinto temporale di questo 2019. Anche stavolta vale assolutamente la pena mettersi in viaggio verso gli estremi confini della metal galassia, all’arrivo ci attende l’ennesima perla, nello scrigno Mesmur.

Author: Gabriele Zolfo
Review
Nine Circles
28.11.2019

A red glow illuminates a path of ash. Lifeless, the only movement in the distance is a dark fog slowly ascending. The sovereigns of suffering, international death/funeral doom act Mesmur, paint a dystopian landscape on their third studio album Terrene. The album beautifully captures complex, heavy emotions through poetic, vivid lyrics backed by heavy synths and guitar, mixed with a hint of softness through cello and flute. Mesmur know how to create something tragically beautiful as Terrene displays raw emotions over the course of an intense yet dreamlike musical journey.

Terrene opens with ominous, slow but steady synths that slowly guide the listener to a world of sweet sorrow forged by vocalist Chris G.’s own hands. From there, a heaviness is constructed with sharp cymbals, drums, dense guitar, and growled lyrics. Eventually, the music is slowed and welcomes new instrumentation by guest performers—flutist Don Zaros of Evoken and cellist Nadia Avanesova. The sound then grows in intensity, creating a well-balanced rise and fall to each of the four tracks on the album.

The second half of Terrene welcomes choral vocals along with instrumentation that is hauntingly beautiful. A sprinkle of spoken word is also mixed into this half of the album, driving the imagery described in the lyrics of a dying world further into view.

On November 9, the track “Babylon” was released. This stunning single is the second track on Terrene and features very visual lyrics describing the wasteland of the ruined Mesopotamian kingdom. Zaros’ airy flute is featured here, adding an otherworldly feel to this already outstanding experience.

Mesmur is a relatively new band having released their first album in 2014. They continue to explore new worlds and dive into the vast, dense ocean of human emotion. Journey around burning lakes of acid tears and ghost towns, commence slow and soothing head banging, lament and immerse yourself in funeral doom with Terrene.

Author: Angela
Review
Da Music
29.11.2019

Wanneer wij naar het meest donkere metalmuziekgenre luisteren, daalt er een soort van gelukzaligheid over ons neer die we moeilijk onder woorden kunnen brengen. De intensiviteit voelt namelijk aan als een warm deken bij koude winternachten. Vooral bij typische funeral doommetal overheerst dat intense gevoel. Neem nu de Amerikaanse band Mesmur. Sinds 2014 brengt de band platen uit, die ons in diepe gedachten toen wegzinken. Ook 'Terrene' is zo'n album geworden, dat blijft kleven aan de ribben.

Nochtans moet je er helemaal in meegaan om de best lange songs op dit album echt te begrijpen. Want laat ons eerlijk zijn: met songs van een gemiddelde duur van twaalf tot zestien minuten moet je zeer sterk in de schoenen staan om de aandacht van de luisteraar scherp te houden. Terra Ishtar is zo'n klepper die langzaam maar zeker je ziel binnendringt tot je, eens onder hypnose gebracht, de dood in de ogen kijkt met een glimlach om de lippen.

De monotone doomklanken, waardoor Mesmur groot is geworden, worden namelijk op zodanig intense wijze, zowel vocaal als instrumentaal, gebracht dat je je gewillig laat meevoeren naar het donkere gedachtengoed van de muzikanten. Eens je dat donkere bos van Babylon binnenstapt, is er geen weg meer terug. Eens Eschaton je na dertien minuten het nekschot toedient, is het over en uit. Caven Of Edimmu is het sluitstuk waarmee bovenstaande stellingen nog eens in de verf worden gezet.

Wie houdt van dit soort slepende duisternis, die langzaam maar zeker je hersenpan binnendringt, zal in dit werk van Mesmur zeker zijn gading vinden. Wat ons betreft is de band weer in het opzet geslaagd. Maar of iedereen zich hier kan in vinden, is een andere vraag. Enkel wie er echt voor open staat, zal hier iets aan hebben.

Author: Erik Van Damme
Review
gbhbl.com
9.5/10
21.11.2019

Four massive tomes of death infused funeral doom that comes in at around 55 minutes. Mesmur’s Terrane is the kind of album that gets you salivating at the prospect of what it might entail. What you find once you dig in is a mouthwatering release that doesn’t so much shake up the funeral doom world as it does cause the ground below to crumble and fall.

Is it a game changing album? Time will tell but once heard it’s hard to not think that it really should be recognised as such. The four tracks are each an individual travel through immersive and mind-altering doom. It’s in no way solely focused on being bone-crunchingly heavy even though it often is. Rather, the mix of glorifying dark melodies and slow crawl of horrific sounds coming from Mesmur’s instruments is mind-numbing in its approach.

Terrene takes some work. There’s no getting away from that fact. It’s very long, it’s very drawn out and the numbing effect might put some off. However, it’s such an expansive listen that it would be foolish to not even try it once.

Chances are, like me, you’ll be sold on the track Terra Ishtar and the other three are just the icing on the cake. Wonderfully tasty icing though, the ever evolving sounds of Babylon, Eschaton and Caverns of Edimmu are downright special.

This is a special album.

Author: Carl 'The Disc' Fisher
Review
Metal Wani
9.5/10

There is a tragic beauty in sorrow and grief, and all stories ultimately end in both. Neither can be avoided, all that can be done is to come to grips with them and find your way through life. There is beauty because there is beauty in life and its frailty; to feel sorrow and grief means to live a life that has had love; and to have that is to have a life worth living. It is in embracing and sharing the strange beauty of sorrow that the funeral doom genre finds its home. And the multinational band Mesmur has tapped into the essence of this with their new album ‘Terrene.’

Two years ago I reviewed their last album, ‘S’, which was a Lovecraftian look into the endless void of space. This new album finds the band firmly back on Earth, and with that a more human, and thus more a more sorrowful and beautiful, album has been created. Funeral doom often comes in two forms, the type this album is, and the type that seeks to suffocate the listener with despair and misery. I find more value in the type explored on this album. The band is made up of four members who have never met one another, from different parts of the world, Jeremy L – Guitars, and Synth, Michele M – Bass, John D – Drums, and vocalist Chris G. The lyrics are handled by both the vocalist and guitarist. As the album consists of only four songs, I’ll hit on each one.

The album begins with the longest track, “Terra Ishtar,” which clocks in at nearly 17 minutes in length. Ishtar was a Babylonian goddess who came into popularity around 4000 B.C., Babylonian mythology is hardly a point of knowledge of mine, so I can say little more that would be of value regarding the title. The music starts quietly with waves of synthesizers, before the slow heavy crush that funeral doom is known for comes in. After a slow buildup the deep, almost hollow, growls come in. Lyrically it deals much of sorrow and impending doom, in part built on the mythology, but they also work perfectly well as themes for normal life. The band takes advantage of the full amount of time, both by speeding up sections (it IS still funeral doom however, so we’re not talking hyper speed), but also slowing the music down even more. Besides the usual instruments, guitar, bass, and drums, a sampled mellotron effect on the synths are used extensively. Best known for their use in late 60s and early 70s progressive rock, there is a timeless quality and uniqueness to a mellotron that I absolutely love, so am perhaps a bit bias in my enjoyment of their inclusion throughout the album. A very prominent section of key use comes halfway through, when the metal stops entirely and we’re treated to a minute of so of quiet washes of keyboards, which double for strings. The effect is quite realistic, the result is sublimely beautiful, and one of my favorite moments on the album.

This is followed by “Babylon” which continues with the middle eastern themes explored throughout the disk. Once again the slowly crushing metal is augmented by quieter passages, including some guest flute by Don Zaros of funeral doom legends Evoken. The shortest track on the album, while not as sprawling, it remains effective in its pacing and use of dynamics.

The guest list continues on the following track “Eschaton” which features cellist Nadia Avanesova. This track wastes no time getting heavy from the very beginning, and the cello doesn’t wait for a quiet moment to begin, instead joining the slowly crushing guitars and bass. The result is a very effective combination of beauty and brutality, mirroring the lyrics which deal with the collapse and destruction of society and the world as we know it. At around the 7 minute mark the music changes and mirrors the sounds of sirens, or airhorns, as would be heard for an air raid or most apocalyptic scenario. This bleeds directly into a quiet section highlighting the cello and the spoken word vocals of Chris. The result is a haunting and achingly beautiful requiem for a dying world, suffering the wrath of a vengeful God, before the mayhem and heaviness comes back. The switch in sound simply serves to make the heaviness more effective.

The album closes with “Caverns Of Edimmu.” Edimmu are, according to my fairly brief reading, a type of vengeful demon or ghost in the ancient Summarian religion. I will admit, I don’t find the connection between this and the lyrics to be very clear, as they read more as a general account of punishment and hellish afterlife. They are effective, however, and the deliberate hollow nature of the vocals serve to remind one of a final reckoning in an eldritch abyss deep underground. The keys and mellotron once more make themselves known, and the deep bass and quicker handwork of the drums adds a sense of urgency as the song progresses. The guitar work, while, like much of the album, focuses on riffs, remains at times slightly floating above the rest, and small subtle bits of cleaner guitar can be heard, which adds more to the atmosphere of the whole. The instrumentation comes together to grieve at the end, and closes things out in a highly satisfactory manner.

Mesmur has managed to create an album of both crushing agony, and sublime beauty, of deep melancholy and sorrow. ‘Terrene’ is firmly planted on earth and frail humanity, and our shared experiences of sadness and grief. This type of funeral doom reminds me of a heavy blanket; it pushes firmly down on the listener, but there is comfort and security in it, comfort of a common understanding, and humanity. It is a work that fans of this lonely subgenre should take note of. Highly recommended.

Author: Jonathon Rose
Review
The Grim Tower
8/10
12.11.2019

Mesmur have always created the kind of doom/death metal that sounds otherworldly, rather than grim and morose and I’ve championed that. There are enough Saturnus clones out there as it is and it’s good to see an artist lifting me up and throwing me into a strange world that builds with every piece on the album. In this case, there are four of those, which is more than enough when you consider the fact that all of these tracks pass the ten-minute mark. Opener “Terra Ishtar” encroaches to nearly twenty and I’m sure that if given more time, that might have just happened. Synths are a huge part of the act, as they build the universe we explore within these four movements, which I will briefly demonstrate.

The album begins with “Terra Ishtar” as I stated before, though it come with a spectral resonance, as it were. If you’ve ever seen a Nova documentary, I could describe the effect here as similar. It does no remain that way though, as thundering doom riffs and an a veritable feeling of unease makes itself present further into the listen. The vocal filter effect that I’m noticing here also bring sort of a cavernous feeling to the mix, which makes that part of this disc seem like it has been made up of transmissions from a being who may very well be trapped on one of these alien worlds that are being sonically described through the music. “Babylon” continues that feeling, though actually does enter slightly darker territory than the band’s previous recording. Orchestral sections do manage to make a statement here, though it is too minute to be understood and is largely forgotten up until the end of the piece. The same might be said of “Eschaton” which seems to murk about in the already grimy territory laid by “Babylon.” Obviously, this is a very different kind of album and seems to press hard on the doom elements, making for what can certainly be a frightening, yet enthralling performance. “Caverns Of Edimmu” brings in more synth action, adding to the dreary orchestral compositions laden within. Towards the end of the cut, they almost feel a bit proggy and actually seem to work in the band’s favor.

Ultimately, there’s quite a bit to like here as no one does it quite like Mesmur when it comes to exponentially atmospheric doom/death. Though Terrene is more gloomy than the band’s previous effort, it still remains true to what makes the band stand out and I’d recommend taking this journey in whatever form you desire, just so long as it is in a place where you’ll not be bothered. It is a very immersive experience that feels like the the death knell of an alien world that we can only grasp partially, in short musical glimpses. There is a very good chance that Terrene is referring to our planet and it’s downfall, but I doubt we are the only world that has seen great turmoil and eventual collapse.

Author: The Grim Lord
Review
Metalfans.be
8/10
07.11.2019

Al sinds het gelijknamig debuut van de Amerikaanse (Noord Carolina) band Mesmur in 2014 was ik onder de indruk van hun sound. Bij hun tweede album S uit 2017 vond ik dat ze inzake songschrijven nog een stapje vooruit waren gegaan en nu is er hun derde plaat Terrene. Thematisch bouwen ze verder op wat ze met S deden. Met dit verschil dat ze nu eerder naar de aarde kijken dan naar de kosmos. Maar we krijgen hier terug een sonische weergave van een stervende wereld waar chaos en entropie dreigen. Zoals steeds is dit niet meteen geschikt voor gevoelige zieltjes. Op Terrene staan vier tracks die samen goed zijn voor bijna 50 minuten muziek. Gastbijdrages komen van o.a. de Russische celliste Nadia Avanesova (mooie bijdrage) en Don Zaros van Evoken.

Opener Terra Ishtar wordt, zoals steeds, langzaam opgebouwd. Ze bevat, vooral voordat de song zich naar de outro toe ontwikkelt, mooie synths op de achtergrond die de sfeer mee bepalen en ook een zekere emotionaliteit laten horen. De zang is terug heel donker en lijkt vanuit de ondergrond van de aarde te komen. Ook de bas is hier sterk bezig. Babylon is ook heel donker maar lijkt minder lagen te bevatten. De zang is sterk maar er zit toch iets minder spanning in de song dan bij hun majestueuze opener. Eschaton begint alleszins goed met terug boeiende synths onder de rest van de muziek. Hij laat ons een hele mooie opbouw horen die zwaar, donker, melodieus en emotievol is. Die opbouw opent uitstekend de weg voor de vocals. De bridge breekt mooi met het voorgaande en klinkt haast als progmetal om dan terug verder te gaan op hun voorgaande elan waarbij hier de drums een doorslaggevende rol spelen. Amai wat een track zeg. Er wordt afgesloten met Caverns of Edimmu en die is zeker even boeiend als de andere songs. We krijgen een sterke ritmesectie in een prominente rol te horen. Naar het einde toe komen de synths meer op het voorplan om ons naar de uitgang te begeleiden.

Ook ditmaal slaagt Mesmur erin om het boeiend en uitdagend te houden. Gedurende drie sterke songs en één, naar hun normen, gemiddelde song nemen ze je mee naar een duistere en donkere wereld waar er weinig lichtpunten te ontdekken zijn. Muzikaal zijn er gelukkig wel lichtpunten genoeg. Hun derde plaat is minstens even goed als hun voorgaande. Een topschijf in het genre. Vanaf heden verkrijgbaar op bandcamp.

Author: Wim Guillemyn
Review
Homo-Faber.net
04.11.2019

Третий альбом “Terrene” от международного funeral doom metal проекта Mesmur – это колоссальное и трогательное звуковое воплощение умирающего мира. Подхватывая идеи предыдущего альбома “S” 2017 года, охватывавшего космические масштабы, “Terrene” исследует схожие темы энтропии и надвигающегося хаоса в более приземленном контексте и изобилует удушающими потоками и токсичной атмосферой, характерной для группы.

Проект Mesmur объединил музыкантов не просто из разных стран, но и с разных континентов. Группа талантливых единомышленников объединили свои силы в 2013-ом году, чтобы нести флаг скорби в массы.

Новый альбом “Terrene” получился по канонам жанра медленным и апокалиптичным. Четыре надгробные плиты выстроились в ряд, образовав небольшое, но определенно мрачное кладбище. Четыре долгоиграющие песни – словно четыре крепчайших гвоздя, вбиваемые в крышку гроба. Крайне низкий гроул вкупе с жирным гитарным саундом, диссонансами и тягучими элементами будоражат все рецепторы восприятия, погружая в непроглядную тьму. Ты смотришь в адскую бездну, пока бездна внимательно изучает тебя. Ты, словно ослепший пророк, мечешься из стороны в сторону, терзаемый нескончаемым потоком видений на библейские сюжеты.

Клавишные/виолончельные репризы ненадолго дарят успокоение, чтобы затем суровые гитарные пласты с минимальной долей мелодизма вновь отобрали надежду. Горечь и красота идут в один ряд, переплетаясь в волшебную мистерию. Mesmur не делают кардинально новое, но прекрасно демонстрируют понимание выбранного жанра. Филигранно и изящно, они грамотно используют возможности стиля, не переступая запретную грань. Работа над звуком вызывает в целом положительные впечатления. Что-то среднее между олдовой атмосферой и современным качеством. Уместно и канонично.

Отдельного внимания заслуживает лирика, наполненная религиозными и экзистенциальными вопросами.
На альбоме использованы партии флейты Дона Зароса из Evoken и виолончели русской музыкантки Надии Аванесовой.
Примечателен также кавер-арт/оформление от украинского художника Кадаверского.

Если попытаться выбрать самую топовую композицию, то выбор будет мучителен и непрост. На свой субъективный вкус отмечу “Eschaton”. Но в целом же, треки монолитны и слушаются практически как единое полотно.

Подводя небольшой итог, хочется отметить, что работа получилась крепкой как с технической стороны, так и в вопросах атмосферности. Видно, что музыканты опытные и страстные фанаты своего дела. Ценителям Funeralium, Comatose Vigil, Bell Witch, Evoken, Skepticism придется по вкусу. Пожелаем удачи банде и будем ждать новых работ!

Author: глав.ред
Review
Head-Banger Reviews
26.10.2019

There’s something about the unfathomable heaviness of funeral doom that will always allure me to its depths. Whether it’s simply the heaviness itself or the cavernous deeps with which is effortlessly carves out with every band that utilizes it, I’ll never know as I just find immense joy at falling into its reaches. Mesmur was one of the first bands that I heard of the style when I first started to foray into the unforgiving realm of funeral doom, and it’s with their follow-up that they stay very much in line with their last record but with a few tweaks here and there to show us that they have certainly improved as a unit.

I’ve always enjoyed seeing people who aren’t familiar with the style start to complain when they see an album of the style has “only” four tracks to call its own without even seeing the godly length of each of the songs that show where the style really shines when put together with everything else. Mesmur holds true to such a staple of funeral doom with only four songs that “Terrene” claims, and it’s with the same impressive stretches that each song takes over that we see this band work the magic that they’ve been honing for a good few years now. There isn’t much with the reaches of this album that can be considered wildly different from what we’ve seen in the style before, but where Mesmur doesn’t display a whole lot of change they, instead, display a grand understanding of the style such that it wouldn’t be far off to consider their grip over the style close to that of masters. Each of the tracks are as wide as they are deep, heavy as they are toxic in nature, monolithic as they are gripping, and as grand as they are punishing! Mesmur hit every nail right on the head when crafting “Terrene” as it hits all the vital notes that a funeral doom work should, and they provide the overall quality of this album is absolute heaps that just keep on giving until that final note!

I still hold true to the idea that I don’t listen to as much funeral doom as I would like, and it’s because of bands like Mesmur that I’ll always find myself crawling back to the style because of how truly exquisite the style can become when put in the right hands. Each moment of “Terrene” seems catered for every fan of the style, and I will definitely be returning to this work time and again because there’s some dark magic at work here that makes what’s on display nigh on irresistible.
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