Station Dysthymia - Overhead, Without Any Fuss, The Stars Were Going Out (CD)

extreme funeral doom, Solitude Productions, Solitude Productions
350.00 Р
Price in points: 700 points
SP. 074-13 x
In stock
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The long awaited full length album from Siberian (Russia) funeral doom metal band Station Dysthymia rises this conservative genre to a higher level. Inheriting the album name from the «The Nine Billion Names of God» by Arthur C. Clarke this unpredictable album crafted in traditions of funeral doom inters the area of science fiction combining musical genre with fictional scientific theories. The musicians themselves treat the main idea of the album as perspective of human personal tragedy at the background of the tragedy of human society as a whole which tends to self-destruction. This is the band’s vision of the story of the World’s end: solid guitar sound combined with growl in different emotional tones draw the senses of mankind fallen into apathy and drifting towards self-destruction. The dark soundscapes were created with help of Greg Chandler from Esoteric who performed mastering at his studio in UK, M. Hater and I. Stellarghost from Abstract Spirit appeared as guest musicians.

Tracklist:
1 A Concrete Wall 34:45
2 Ichor 18:30
3 Starlit: A Rude Awakening 9:30
4 Starlit: We Rest At Last 9:40

Artist:
Station Dysthymia
Artist Country:
Russia
Album Year:
2013
Title:
Overhead, Without Any Fuss, The Stars Were Going Out
Style:
extreme funeral doom
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat No:
SP. 074-13
Release Year:
2013
Barcode:
4627080610330
Country Of Manufacture:
Russia
Review
Kaosguards

A l’écoute de ce second album de STATION DYSTHYMIA (après « Only Gray Days » en 2009), on peut tirer des conclusions pour le moins définitives et drastiques concernant la Sibérie : il ne s’agit pas d’une région propice à la joie de vivre.

En quatre longs morceaux, le trio fait œuvre de nihilisme. A telle enseigne que l’étiquette Funeral Doom semble par moments restrictive.

Dans le Doom et plus particulièrement le Funeral Doom, on affectionne tout particulièrement les formats longs mais il faut relever que STATION DYSTHIMIA se place dans le peloton de tête avec la première composition, « A Concrete Wall », monumentale et cauchemardesque déambulation de près de 35 minutes !!! Certes, on trouve dans ce monument des figures de style assez cadrées, à base de tempo lent, de chant grondé et de riffs écrasants. Mais surtout, l’auditeur erre de séquences en séquences, découvrant au fil des nombreux détours de ce labyrinthe sensoriel des passages aux mélodies dérangeantes (Shoegaze ?) et presque psychédéliques, des plages apparentées au Drone et à l’Ambient.

Loin de se contenter de ce titanesque début, STATION DYSTHYMIA poursuit avec un « Ichor » de 18 minutes. A nouveau, des riffs sinistres, répétitifs et dissonants aplatissent tout au fil d’un tempo d’une lenteur exténuante. Un break plus Ambient et mélodique finit bien par advenir mais il est recouvert par une bitumineuse couche métallique, agrémentée d’un chant caverneux et inarticulé. Au bout du compte, on a l’impression de parvenir à la toute fin de l’Humanité.

Les deux derniers morceaux (plus de 9 minutes chacun au compteur) forment le dyptique « Starlit ». La première partie, « A Rude Awakening » comporte en son début la séquence la plus ouvertement mélodique et normale de tout l’album. Assertion mise à mal par l’intervention de ce chant désincarné et monstrueux. Il n’empêche que l’instrumentation demeure jusqu’au bout mélodique, quoiqu’inquiétante et torturée. La seconde partie, l’instrumental « We Rest At Last », développe sous une chappe de bourdonnements métalliques un schéma mélodique hypnotisant et presque spatial.

Vous l’aurez compris, « Overhead, Without Any Fuss, The Stars Were Going Out » n’est pas une œuvre destine au grand public mais bien une expérience à réserver aux plus audacieux.
Review
Iye Zine
8.5/10
22.07.2013

Dire Siberia e rabbrividire per un attimo anche in piena estate è un tutt’uno, così come lo è immaginare che i musicisti provenienti da quelle parti possano essere naturalmente predisposti a sonorità tutt’altro che solari. Luoghi comuni a parte, gli Station Dysthymia da Novosibirsk, con questo loro splendido secondo disco, si pongono all’attenzione degli appassionati di funeral doom, collocandosi sulla scia dei magistrali Esoteric. L’accostamento con la band britannica invero non è causale, se pensiamo che Greg Chandler ha curato in prima persona la resa sonora di Overhead, Without Any Fuss, The Stars Were Going Out. Va chiarito subito che il riferimento agli Esoteric ha la sola funzione di fornire un termine di paragone più o meno attendibile a chi si vuole avvicinare a questo monolitico lavoro: in realtà il sound dei siberiani possiede una propria peculiarità anche se, in una band di formazione relativamente recente, la presenza di influenze più o meno significative va a maggior ragione tollerata. Il disco trae il suo lungo titolo dal romanzo di Athur C.Clarke “I nove miliardi di nomi di Dio” e questo, in qualche modo, indirizza anche le tematiche fantascientifiche che permeano il lavoro: ovviamente non è difficile immaginare che, anche nella visione dei nostri, il futuro del genere umano sia tutt’altro che roseo. Un’ora e dieci di ritmi pachidermici si abbattono su chi possiede la passione e la pazienza per ascolti di questo tipo: la prima, mastodontica traccia intitolata A Concrete Wall dura quasi trentacinque minuti e, da sola, basterebbe e avanzerebbe per definire questo lavoro un must per gli habituè del genere. Nell’occasione, lo stile degli Station Dysthymia non mostra la pur minima apertura a passaggi melodici basando tutto sulla profondità dei suoni e sull’impatto ossessivo capace di infrangere qualsiasi tentativo di resistenza psichica: l’ultimo quarto d’ora del brano è qualcosa difficile da descrivere, tale è lo straniamento che è in grado di provocare. La successiva Ichor non è assolutamente da meno, anche se ci viene concesso di intravedere qualche fioco bagliore di luce, grazie a una tastiera che talvolta riesce a farsi timidamente largo tra il cupo riffing delle chitarre: francamente un brano splendido che, in virtù di una durata dimezzata rispetto alla traccia precedente, sembra persino dotato di un (relativo) dono della sintesi. Il finale è riservato a Starlit, suddivisa in due parti , nella quale un’aura malinconica attenua non poco i toni claustrofobici che, fino a questo punto, avevano contraddistinto il disco: una conclusione degna per un’opera di grandissimo pregio, che ci consegna un’altra band in grado di affiancarsi a pieno titolo ai nomi di maggior spicco della scena funeral.

Author: Stefano Cavanna
Review
Darkview
7/10
24.10.2013

“Dysthymie is een psychologische aandoening die zich kenmerkt door een gebrek aan plezier en ongenoegen in het leven. De omgeving van dysthymiepatiënten ervaart hen vaak als uitermate somber. “ U hoort het al, we gaan de vrolijke toer op met Station Dysthymia. Geen depressieve Black Metal deze keer, maar Russische Funeral Doom uit Novosibirsk, een stad in de krochten van Siberië. De band was me totaal onbekend, maar kwam op een mooie herfstdag uit het oosten aanwaaien in de vorm van hun tweede langspeler, waarvan de titel te lang is om hem telkens te citeren. De plaat zag het levenslicht op 1 juli van dit jaar, via het al even Russische (doom) label Solitude Productions. Nu is Funeral Doom niet echt het meest toegankelijke subgenre in onze rijkelijk van segmenten bedeelde metalwereld, zelfs niet voor liefhebbers, waaronder ik mezelf mag rekenen.


Met deze schijf was het al zeker geen eenvoudige zaak. Overhead…moet een heel aantal keren door je plantendraaier gehaald worden wil je hem volledig vatten. Steeds ontdekte ik iets nieuws, en steeds begon ik ‘m beter te vinden. Opener ‘A Concrete Wall’ is een nummer het genre waardig: met bijna 35 minuten ook het langste op het album, en ook een van de beste. De sfeer wordt vanaf het begin lekker ijzig ingezet. Je waant je meteen in een door sneeuwstormen geteisterde Russische achterbuurt, waar je vingers bevriezen door je lederen handschoenen heen en er ijspegels aan je neus bengelen. Daar gaan de nummers ook over: de uitzichtloosheid en eenzaamheid van de moderne, gedesillusioneerde stadsbewoner. Het tempo is volledig volgens verwachting lekker traag, maar er wordt wel regelmatig en goed afgewisseld in de ritmesectie. Cleane vocalen en gesproken stukken introduceren de eerste grunts, die omstreeks minuut 6 worden ingezet. Diep, laag, uitgesponnen: ook niet echt een verassing. Het nummer kruipt verder, om ergens in ’t midden te muteren tot een beklijvend stukje ambient, al even koud en bevreemdend als het voorgaande. De spanning wordt gedurende minuten opgebouwd, om dan flirtend met de twintigste minuut z’n catharsis te bereiken, met death doom stukken, lekker geschreeuw en repetitieve riffs. Heerlijk nummer, maar je moet jezelf de tijd gunnen alles eraan te ontdekken. De volgende nummers (Inchor van 18 minuten en het tweeluik Starlit – We rest at last en Starlit- A rude awakening) doen meer death doomish aan, zonder aan kwaliteit te verliezen. Wel zijn ze iets minder geïnspireerd en divers als het eclectische stuk kilte dat het openingsnummer is. Vooral Inchor neemt de vibe er een beetje uit, maar dat wordt daarna weer ruimschoots met het afsluitende tweeluik goed gemaakt.


Overhead … is geen baanbrekende, vernieuwende of extrapolair originele plaat. Wel is het goed geschreven, helemaal niet saai of vervelend, afwisselend en geïnspireerd. Voor de fan van het genre is het zeker een band om te ontdekken, de leek vindt er waarschijnlijk best wat elementen in die te pruimen vallen. Voor liefhebbers van SHAPE OF DESPAIR, AHAB, FUNERALIUM.

Author: MVdB
Review
Femforgacs
10/10
06.09.2013

A funeral doom műfajjal (is) eléggé később ismerkedtem meg, ahogy még egy pár extrém metal műfajjal, így az ilyen zenék feldolgozása terén inkább a 70-es évek elvont kísérletei nyújtanak számomra támaszt, illetve adnak segítséget, amikor kategóriák, stílusok megállapítására merészkedek. A régebbi forgácsolók, most valószínű nevetnek, mert pontosan tudják, hogy mire is gondolok.
A funeral doomnak is van egy oldalhajtása (ahogyan szinte mindennek), ahol nem csak a kötelező műfaji elemek bája jelenik meg (extrém lassú tempó, mély gitárok és mély hörgés), hanem esetleg atmoszférikus elemek, pszichedelikus csilingelés, esetleg dallamos ének. A gyakorlott és trv funeral fülűek, erre lehet, azt mondják, hogy a műfaj szoptatós sarjadása, és csak arra jó, hogy a mainstream irányába billentse el ezt a zenét. Én viszont egyáltalán nem így látom, vagy mondjuk arról lehet szó ismét, hogy a keményvonalas hallgatóság érzéketlen a kísérleti elemekre.

A Station Dysthymia zenéjében találunk ilyen koszfoltokat, tehát egy nagyon kevés dallamos ének, szintetizátor, és a reverbes gitárcsillámok is előjönnek, ezzel a sötét bitumen viszkózusságát nagymértékben lecsökkentve, az akusztikai dolgokat élvezetesebbé, izgalmasabbá téve.

Az a tény, hogy a lemez első dala közel 35 perces(!), tükrözi a trendekkel való szembeszegülést, az pedig, hogy simán végighallgatható, és nem leterhelő, a jó kivitelezés eredménye. Mondtam, hogy oroszok? Nem, de ezek után azt hiszem elmondtam azt, ami a leginkább közrejátszik abban, hogy kiváló az anyag. Lefordítom, hogy ne tudjanak belekötni, kedves kritikusaim: az oroszok és a szlávok általában bitang jó funeral és kísérleti (post) doom zenéket csinálnak (Ea, Septic Mind, Odradek Room), de nem azt mondom, hogy csak ők. És nemcsak jókat, hanem jellegzeteseket, felismerhetőeket. A Station Dysthimia zenéjében viszont hallok Esoteric hatást is, ami azt jelenti, hogy hangzásában, témáiban valamelyest híd a kelet és nyugat között. Sőt! Bár a nagy kedvencem, a német Valborg ennyire nem ellazult társulat, az ő művészetükkel is hallok némi rokonságot.

A legjobb pillanatok számomra az első dalmonstrum rendkívül elnyújtott, de okosan építkező befejezése (a 22. perctől) és a 16. percben belépő finoman torzított (overdrive) gitárjátéka. Aztán a második szerzemény szintén végefelé feltűnő málházása (Ichor - "csak" tizonnyolc és fél perces), azzal a húsba hatoló templomi orgonával. A Starlit - A Rude Awakening tételben pedig a végefelé hallani egy meghökkentő hangnemváltást, ami után hirtelen begyorsul a dob, ezzel megintcsak meghökkentő fordulatot ütve a szuperlassú zenébe. A Starlit második részében meg molekulakergetős szintetizátor-gurgulákba süpped bele a minden-mindegy hangulatot árasztó döngölde.
A dalok szövegvilága gyakran a halál utáni élet témáit feszegeti,

Jellemző rám, és még sok társunkra, hogy a Hangpróbán tekerünk, mint a barom, gyorsan lefuttatunk egy lemezt, ami miatt csak felületesen hallgatjuk meg, így a tényleges értékekre nem tudunk odafigyelni. Persze a Hangpróbának nem az a célja, hogy részletes bemutatását adjuk minden bejutónak, inkább szórakozásunkra van, és a gonoszságunk megetetésére, néha mégis sajnálom, hogy nem tudok 100%-ban objektív és odafigyelő lenni. A lemez ajánlója, Mike666 szerint már-már evokeni magasságokba ér ez a produkció. Szerintem meg megelőzték a mestereket jelen esetben.

Ennél a lemeznél a pontszámot az vitte le egyedül eleinte, hogy a műfajra jellemzően előjön néha pár olyan rész, ahol nem nagyon történik semmi (második hallgatásra ez már nem volt olyan egyértelmű). Az Ahabot kivéve nem nagyon hallottam még olyan funeral doom csapatot, ahol ezek a részek TALÁN nem is léteznek. Mikor harmadszor mentem neki a hallgatásnak, nagyon akartam, hogy ne halljam ezeket, és végül sikerült. Mert még az üresjárati témákban is megbújik valami, ami miatt szórakozom a hallgatása közben. Meg amikor hozzáteszik a srácok a saját fűszereiket, kimagasló a teljesítmény, nagyon átjön a spiritusz.
Ki fogja ezt a zenét szeretni? Hát... az elvetemült hosszú dalok kielégíthetik a funeral doom mániákusokat is, de sok a kísérleti téma is, viszont ezek a részek pont segítik a kitartást azok számára is, akik még nem nagyon találkoztak ezekkel a temetői hangulatokkal és tempókkal. Úgyhogy én ajánlom minden metalt szerető fajzatnak.
Kiváló munka! Az egész meghallgatható audio minőségben a Bandcamp oldalukon.

A csapat Novoszibirszkben aktivizál. Ezen a helyen eddig a mért legmelegebb nyári hőmérséklet 37,2 fok, míg a téli leghidegebb -45 fok volt.

Author: Nagaarum
Review
Metalstorm
8.6/10
04.08.2013

"A Concrete Wall", the opening track to this album, is the sonic equivalent of the Star Trek movie. No, not the 2009 action packed reboot… the "boring" one released back in 1979.

Like the movie it is long, slow moving and slow developing. On one hand, for a lot of folks, that's a recipe for coma-inducing boredom. For others, like myself, in this case it's a monolithic, gripping listen that ensnares you, has its way with your auditory senses (albeit terribly slowly), and leaves you bound for 30+ minutes.

The core of Station Dysthymia's sound is funeral doom, only with lots of various other elements of other doom sub/related genres tossed in. Some drone here, psychedelia there. There are passages that sound like well done "SFDD" (same funeral, different day), followed by other passages that sound like a Sunn O))) riff played at 78 RPM (so still slow compared to most metal), with an Esoteric-like sanity stripping ambient noise creeping around the background.*

The other three tracks found on Overhead, Without Any Fuss, The Stars Were Going Out also embody these very same traits, only in a much shorter fashion. "Ichor" clocks in at over 18 minutes, and the two closers, "Starlit - A Rude Awakening" and instrumental sibling "Starlit - We Rest At Last" are a grindcore-esq nine minutes and change each. Yeah, when something a hair under ten minutes seems short, you know they've packed in a lot of music. And they've packed a lot into their music as well… the slow movement might make it seem like not a lot is going on, a lot is going on.

With the year more than halfway done, this is probably my favorite "extreme doom" release of 2013. So, yeah, worth checking out.

*- Side note: once again we find the presence of extreme doom's Al Jourgenson… Greg Chandler. Tack this on the growing list of albums he has helped master.

Author: BitterCOld
Review
No Clean Singing
01.07.2013

If someone were to tell you that one of the best, most original doom albums of 2013 would be coming your way as a debut release from a band in Siberian Russia, you might be understandably skeptical. But that’s what I’m telling you, in no uncertain terms. Both massively crushing and cosmically ethereal, the first album by Station Dysthymia is a multifaceted gem that no self-respecting fan of doom should miss.

The album’s name is a mouthful, but one that should resonate with fans of classic science fiction: Overhead, Without Any Fuss, The Stars Were Going Out. That’s the last line of The Nine Billion Names of God, by Sir Arthur C. Clarke, one of the most honored and widely read short stories in the genre. It wasn’t chosen as the album’s title arbitrarily. Both in the way the album sounds and in the concepts that inspired the music, Overhead can be thought of as funeral-doom-goes-into-space, which is part of what makes it such a surprising and satisfying discovery.

The music can easily be appreciated without knowing the back story, but there is an undeniable connection between the underlying concepts and what you will hear. Inspired by the writing of not only Clarke but also such luminaries as Isaac Asimov and Stanislaw Lem, the band have tried to capture in their music a tale of humanity’s gradual (and perhaps inevitable) self-destruction, smothering itself in the cradle of limitless petty consumerism in the here and now, while turning away from a future life among the planets and ultimately the stars. That heartbreaking dichotomy between the dead-end road we’re on and the path not taken is at the core of the album’s atmospherics.

Grand concepts and big ideas indeed, but the music is huge, too.


Overhead consists of only four songs, but that’s like saying the Grand Canyon is only a ravine. The opening track, “A Concrete Wall”, is almost 35 minutes long, and the second one (“Ichor”) lasts more than 18 minutes. Both of the last two songs — “Starlit – A Rude Awakening” and “Starlit – We Rest At Last” — top 9 minutes. When a band starts an album with its longest song, particularly one that’s longer than most metal albums in their entirety, you know that playing it safe isn’t on the agenda. And fear not — Station Dysthymia fully justify the mega-length of these songs: They’re all transfixing.

Overhead is definitely part of the funeral doom tradition. The pacing is almost always slow, at times glacial. And much of the time it’s massively pulverizing. The riffs, and even individual notes, are titanically heavy and distorted, the sounds lingering in waves of groaning feedback, creating a sensation of mountains collapsing into a deep abyss or planet-sized asteroids being sucked inexorably into a gargantuan gravity well. The drum strikes hit like tombstone-sized mallets against granite boulders. The cavernous, growled vocals roar heartlessly.

Roughly the last third of “A Concrete Wall” is about as physically convulsing and memorably crushing as anything I’ve heard all year. Colossal bass and guitar riffs pound in a repeating motif, over and over again, like a skyscraper-sized battering ram slamming against the sheer face of a mountain. But that’s just the foundation for a squall of harrowing noise and ghastly shrieks (courtesy of guest vocalists M. Hater and I. Stellarghost from Russia’s Abstract Spirit) that herald the end of times.

However, this palpably physical, skull-caving aspect of the music is only half of the dichotomy mentioned earlier. Interwoven with it are otherworldly elements, sounds that conjure up sensations of drifting incorporeally through the ether or surfing the space lanes in the glow of stars being born. Ethereal guitar leads, pulsating electronic tones, and shimmering ambient sounds come and go, opening windows into the cosmos, as if to remind the listener that there are worlds other than our own and futures other than the doomed one we are constructing in our ignorance.

You hear the beautiful, melancholy guitar melodies that surface in the two “Starlit” tracks — music suffused with sadness and loss, surrounded by immense chords and catastrophic drum blasts — and it leaves the listener with a question: Is this solely the sound of resignation and grief over what might have been, or is there a slight hint of hopefulness in those sublime notes, a suggestion that it may not be too late after all?

********

Overhead was mixed and mastered at Priory Recording in England by Greg Chandler of Esoteric, who knows a thing or two about doom. The album has just become available for download at Bandcamp for the bargain price of $3 (or more, if you wish). The download comes with a PDF version of the album booklet, designed by The Secret Door. CD versions of the album are available from Solitude Productions via this link:

Author: Islander
Review
Ave Noctum
8/10
02.09.2013

Station Dysthymia are a funeral doom band from Siberia, and ‘Overhead, Without Any Fuss, The Stars Were Going Out’ is their second full-length. I thought at first in my literary ignorance that the album title was the product of some awkward Russian auto-translate software, but it’s actually a line from Arthur C Clarke’s short story ‘The Nine Billion Names Of God’, in which Tibetan monks seek to bring the universe to an end by listing all the names of the Creator in order. Whilst I haven’t read the story, the album certainly shares its themes of cosmology, eschatology and geographical isolation, with its eerie, sprawling tracks full of otherworldly menace and existential dread.

Opener ‘A Concrete Wall’ is a vast and disorienting piece weighing in at a mammoth 34 minutes. It starts with fragile clean chords hanging in the air, a repetitive and hypnotic riff then crashing down over and over to the accompaniment of low, booming, chant-like vocals. As the song sinks into echo-heavy murk, bleak melodies crawl across the landscape, the momentum and urgency slowly growing, before a leaden, gloom-laden hook takes over and drags the song forward. A respite follows in the form of floaty ambience, with humming frequencies intertwined with sounds of blowing wind and gentle, post-rocky clean guitars that bring to mind classic Isis at their most chilled-out. Then it’s back to that opening mesmeric riff, and on into an urgent, driving momentum, pushing forward to mountaintop cries and crashing drums, the song slowly straining under the weight of an intensifying din of tormented screams and swirling, echoing noise. Esoteric’s Greg Chandler was responsible for mastering the album, and it shows.

‘Ichor’, half as long but still lumbering and huge, is an interesting mixture, with more gentle post-rocky touches, mournful melodic leads, and a chunky, relatively lively sludge riff all worked around a backbone of crushing doom-drone. Towards the end some organ-like synth appears, giving a hint of Skepticism or perhaps Abstract Spirit. ‘Ichor’ reminds quite a lot of Abstract Spirit come to think of it, what with its haunting clean guitars seemingly channeled from the past, its ghostly keys, and its endless waves of despondent riffs with warped and dissonant chords pushing through the cracks. Indeed, said band’s members M. Hater and I. Stellarghost provide guest vocals and synths elsewhere on the album, and a stylistic overlap between the bands is evident throughout.

‘Starlit- A Rude Awakening’ is another oddball, starting with a more gothic doom approach, opening with rich, warmth-tinged guitars with a sorrowful, folksy lilt to them, plunging then into abyssal funereal territory before climbing back up with a completely unexpected toe-tapping goth-dance break that stalls and fragments as suddenly as it appears. Instrumental ‘Starlit- We Rest At Last’ makes for a fitting closer; stark, drawn-out melodic laments recall Ahab, or perhaps Esoteric’s ‘Maniacal Vale’, whilst the surging, euphoric bridge with fluid, building drums makes me want to dig out Isis’s ‘Panopticon’.

A wholly solid album, ‘Overhead…’ took a good few listens to really sink in, but sink in it did. Bleak and barren but also frequently delicate, it’s a lonely, spaced-out listen full of sparse passages of plunging despair, akin to glimpsing the twinkling nocturnal lights of some deserted outpost as it’s swallowed up by a cold expanse of snow and sky.

Author: Erich Zann
Review
The Pit of the Damned
7.5/10
01.12.2013

Titolo chilometrico per questa band siberiana dal tocco decadente e prepotentemente doom. Il secondo full lenght della band russa esce per Solitude Production nel 2013 e presenta fin dall'inizi i suoi intenti depressivi e tombali con una prima traccia da psicofarmaci lunga più di trentaquattro minuti. Cadenze lentissime, suoni rarefatti, ricercati e curati, voce gutturale dal profondo degli inferi e sospensione temporale infinita. Rallentate i Paradise Lost di 'Shades of God' ed i Crime and the City Solutions e avrete un'idea della potenza di fuoco che questa band si ritrova tra le mani. La musica risente dei padri fondatori del funeral doom metal in particolar modo gli Skepticism, per quella forma di metal rallentata e sinfonica, con suoni carichi di presagi rock così oscuri che pur mantenendo l'animo gotico e decadente riescono a farti sognare un paesaggio notturno sconosciuto. Una strada che passa in mezzo ad una foresta scura da attraversare con una moto in solitaria contemplazione, un easy rider nei meandri della propria coscienza. Suoni per la notte. Una notte eterna che non finirà mai, pieni d'infinito, un culto da assaporare a fondo, lentamente, come la cadenza dei brani suonati in fronte alla sola luce lunare. Un suono astratto e psichedelico che ci riporta ad immagini desertiche e lunari, piene di solitudine e sofferenza, silenziose mai lasciate al caso. Una band da prendere in considerazione seriamente, che mostra un approccio sentimentale nei confronti della propria musica molto sentito, vissuto e sofferto. Mostrano affinità con lo stoner/ doom dei Cathedral più ribassati nella sonorità ma la musica del destino è ancora troppo veloce e poco profonda così la lama affonda e rallenta fino a quasi fermare il tempo per mostrare il volto di queste anime in pena. Da riconoscere che non è musica per tutti gli stomaci ma per una volta lasciatevi tentare da questa corsa a rallentatore, potreste attraversare il vostro tunnel più nero rischiando di uscirne più vivi che mai. Gran bel lavoro!

Author: Bob Stoner
Review
Lords of Metal
8.4/10

Aha, weer eens een Russische band op het Russische doomlabel bij uitstek Solitude Productions. Wat zal het zijn? Death doom of funeral doom? Oh, wacht, opener A Concrete Wall duurt vierendertig minuten. Dat lijkt me dus een duidelijk geval van funeral doom. En nu maar hopen dat het niet van die dertien in een dozijn funeral doom waar Rusland bekend om staat. CD maar in de speler gepropt en het is inderdaad funeral doom. En gelukkig is het niet van die funeral doom die wel al tig keer uit Rusland over ons hebben gehad. Nee, Station Dysthymia heeft duidelijk een eigen gezicht, al komt er wel eens een passage voor die we veel vaker hebben gehoord. De funeral doom van de heren is doorspekt met psychedelica en wat drone stukjes en af en toe zelfs wat heel lichte ambient. Qua atmosfeer doet het me aan een mix van Faal en Esoteric denken maar dan voorzien van muziek die vele malen trager is. Maar eigenlijk is dat niet helemaal vreemd aangezien de mix en mastering verzorgd is door niemand minder dan Greg Chandler van Esoteric. Ook hier levert Greg weer prima werk af. Die man is echt een grootheid op dat gebied. Dus, liefhebbers van funeral doom weet wat ze te doen staat. Kopen die hap.

Author: Marcel H.
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