Mesmur - Terrene (CD)

funeral doom metal, Solitude Productions, Solitude Productions
450.00 Р
Price in points: 900 points
SP. 149-19 x
In stock
+

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
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
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.
Review
Metal Imperium
8.1/10

Quem seja conhecedor do estilo musical destes senhores sabe que eles tocam algo que se enquadra no Funeral Doom Metal. Foi assim com os seus dois primeiros álbuns e é assim também com “Terrene”, que será lançado no próximo dia 29 de novembro e que sendo um álbum conceptual, pretende dar continuidade ao que havia sido iniciado com o antecessor, “S”, de 2017.

Neste novo trabalho, no entanto, os Mesmur apresentam-nos algo de diferente em relação aos anteriores, sobretudo ao primeiro. Esta banda que conta com elementos oriundos dos Estados Unidos, Austrália e ainda Itália, continua a praticar um som “sujo”, fazendo uso de uma voz “cavernosa” também. O ritmo, esse, consegue ser ainda mais mórbido, lento em grande parte dos temas, mas sem nunca se tornar monótono. As 4 faixas que compõem o álbum são longas, não havendo nenhuma com menos de 11 minutos.

A novidade surge nos contrastes que conseguem proporcionar. Logo no primeiro tema, “Terra Ishtar”, conseguimos ouvir propositadamente os dedos de Jeremy L, percorrendo as cordas da sua guitarra na mudança de acordes, transmitindo-nos a sensação de um som cru. Porém, a meio dessa mesma faixa, somos transportados para um ambiente celestial, onde podemos escutar a violoncelista convidada Nadia Avanesova, para logo de seguida sermos empurrados de novo para a escuridão inicial.

Na segunda faixa, “Babylon”, somos surpreendidos por uns teclados hipnotizantes, que são progressivamente substituídos pela obscuridade característica desta banda, para voltarem a surgir no final, completando o ciclo.

Nas restantes faixas estes contrastes mantêm-se. Podem surgir através de um trabalho de bateria que pode parecer estar paralelo à música, fora dela, ou dos sintetizadores, rompendo momentaneamente com aquele arrastar pesado que o som da guitarra oferece, quando acompanhado por aquela batida lenta. São como nesgas de luz que nos são dadas no timing certo para nos tirarem momentaneamente da mais completa escuridão, mas que rapidamente fogem, deixando-nos novamente mergulhados na bruma.

Os Mesmur esforçaram-se para nos oferecerem um digno sucessor de “S”. A participação, neste álbum de Don Zaros, teclista dos Evoken é disso exemplo. Também o cuidado com a apresentação visual é demonstrativo desse objetivo, para isso, recrutaram o pintor ucraniano Cadaversky que fez um fantástico trabalho para a capa do álbum.

Os conhecedores dos anteriores trabalhos dos Mesmur vão certamente verificar que a tentativa feita em “S”, para se distanciarem do som que caracterizou o primeiro álbum, foi agora completamente conseguida. “Terrene” é um digno sucessor de “S” e embora possa não surpreender os apreciadores de Doom Metal, não deixa por isso de ser consistente e não irá desiludir ninguém certamente.

Author: António Rodrigues
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