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

extreme funeral doom, Solitude Productions, Solitude Productions
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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
Genre:
extreme funeral doom
Format:
CD
Type:
CD Album
Package:
Jewel Case
Label:
Solitude Productions
Cat Num:
SP. 074-13
Release Year:
2013
Barcode:
4627080610330
Country Of Manufacture:
Russia
Review
Convivial Hermit #7

That is one bleak motherfucker, that one. And judging from my record procrastination before tackling the review, a tough nut to crack, too. Nearly every aspect of the final product offers a specific angle to approach it, a different way to "listen" to it even, and after a while agonizing over the attraction-repulsion ballet taking place inside my head, I found it useful to focus my attention on the lyrical matter, starting with the album's title. "Overhead, without any fuss, the stars were going out" looks at first sight like some corny post-rock slogan, but in fact has its origin in literature, and specifically in Arthur C. Clarke's The Nine Billion Names of God, of which it is the closing sentence. As one of the most famous authors of science-fiction and scientific speculation, Arthur C. Clarke is of course most well-known for writing 2001: A Space Odyssey. This particular short story, based on rather weird premises, describes a kind of poetic encounter between advanced computer technology and Tibetan eschatological beliefs. Go online or pester your favorite librarian for details, suffice to say that sticking dreamt-up images of that story onto the sounds coming out of the speakers was the key that made all the pieces fit together. I'll not be so presumptuous as to say that the band's intentions were instantly decrypted, but it definitely helped conjure up a visual/intellectual alchemy that made me see the album as an indivisible entity. And thus, getting more "comfy" with Station Dysthymia's dark doom universe, I uncovered occasional connections with three other bands I hold in high esteem, and whose very mention actually sums up why this album is strong and arresting on one hand, and on the other hand rather oppressive in the way it matter-of-factly exposes contrasting emotions and scatters them to the four winds. These bands I'm talking about are Corrupted, Monolithe and Bethlehem. The fact that they all operate in widely distinct fields should vouch already for this album's originality and scope. I thought of Corrupted for the granitic, physically shaking yet tranquil monotony that inhabits the massive riff architectures; of Monolithe for the ease with which Station Dysthymia at times wander off into the great starlit void, chasing elements of spacey atmospherics, and of Bethlehem for the way they impose the globality of their music and "synchronize" the listener's mood to their agenda. In other word, making you "accept" the more dreary, deserted parts where nothing much happens as trials on the path to revelation, or emptiness, or whatever you'll take home from that exhausting journey. Just like on Bethlehem's demented masterpiece Dictius te necare, parts I could otherwise consider boring as such become necessary and longed after, as they make you experience firsthand the intimidating feeling of being lost on a foreign desert planet with only a dying, gray sun watching and no aim in sight. That's how perverse and compelling this album is. It will leave the mentally unprepared on the sidelines though. Dealing with a hermetic and thankless 35-minute opener can cause a few brains to shut down. The genuinely depressive aftertaste of some parts will also ward off certain people. Dysthymia doesn't mean chronic depression for nothing, and we're talking the kind of radical mood that most self-styled funeral doom albums stop short of touching upon. The sound is heavy with delay to the point of feeling "moist", yet the more forgiving, soaring moments, like the gorgeous "Startlit: we rest at last", take off nicely and easily relieve most of the tension. Anxiolytic medication, in a way. A difficult and tortuous affair, that much should be clear... Suffocating, nihilistic yet perceptive doom with a difference: buy or live!

Author: BG
Review
Doom-Metal.com
9/10
27.07.2014

Four years after its first album 'Only Gray Days', the Russian band Station Dysthymia released its sophomore, introducing a certain number of evolutions - thematic as well as musical - to its Funeral Doom. The morose, grayish and urban atmosphere of the debut album has indeed been replaced here by a more spacy, cosmic and at times cataclysmic one, drawing its influence from Science Fiction literature: the title of the album being, in fact, a quote from "The Nine Billion Names of God", a short story by the famous writer Arthur C. Clarke.

And 'A Concrete Wall', the 35-minute-long monster opening the album, is a perfect illustration of this concept. The "Concrete Wall" to which the title relates is simply the end of times, the Armageddon itself, the last moment before our whole world vanishes into the void. The particularly elaborated and detailed illustration that the Russian musicians give us of this shows how incommensurable and implacable such an event obviously is, through a songwriting work as evocative as it is fascinating. One of the most memorable ways this is dealt with is in the parallelism noticeable between the topical progression and the musical progression; the various sequences of the track are linked in a very narrative fashion, which makes it something more than just a simple song about the Apocalypse: a real audio description of this event.
For example, in the first part of the track - though there's no attempt to hide the fact that the end is near and that the whole world is doomed - the lyrics have a mystical tone which could let us think that the zen acceptance of our fate is the only thing able to help us in such a trial; this being translated musically through a dark chorus repetitively asking us to "embrace end of times", and through Tibetan throat singing. But when, after a long instrumental interlude - where the Doom Metal instrumentation is replaced by a far more experimental style, both minimalist and complex and based on a hypnotic use of strange guitar effects (which seem to embody the doubt arising in the mind of the most experienced Zen master) - the sung parts finally return, the lyrics have lost a substantial part of their mysticism and have become much more nihilistic and down-to-earth: since the whole universe is condemned to extinction, no matter how morally or immorally you choose to live out the remaining time.
When, finally, the catastrophe really begins, the listener can hear a terrifying concert of screams of horror (featuring M.Hater and I.Stellarghost from Abstract Spirit, the latter being also responsible for the synths on the ending track), embodying the whole of Humanity being obliterated and vanishing into nothingness. It's not surprising, therefore, that from this point the rest of the composition remains strictly instrumental: the only real way to depict the cloud of particles floating in the spatial void that, from then, will be the last evidence of Eath's past existence. A song as cataclysmic as its is captivating, from start to finish..

So captivating, in fact, that one could wonder if the rest of the album is really dispensable, and if there's really anything left to add to such a masterpiece. It may not be surprising, then, that 'Ichor', the next song, is at first not wholly convincing. Though this track is interesting, overall, and adds new elements to the band's sound (a part with an organ, for example), it's still too soon after 'A Concrete Wall', and too conventional compared to it, to really catch the attention of a listener still under the influence of the aforementioned behemoth. However, after a certain number of plays 'Ichor' grows in interest, notably due to the few melancholic passages it contains and which prefigure the two last tracks. Indeed, the latter ones display a sadder, yet still astral and spacy, atmosphere, making these tracks really interesting, though not as impressive as 'A Concrete Wall'. It's also noticeable that these songs don't forget to surprise the listener, such as with the short but odd acceleration in 'A Rude Awakening', which is reminiscent of 'The Trip' from the band's first album. These two last tracks and, to a lesser extent, 'Ichor', lead the listener in a strange kind of cosmic depression, like the one that an astronaut would feel while watching from space as his home planet undergoes the events described in 'A Concrete Wall'...

To conclude, 'Overhead, Without Any Fuss, The Stars Were Going Out' is an excellent album, impressing by its strong atmosphere and by the skilful songwriting displayed, especially in the first song. Station Dysthymia is clearly a band to keep an eye on.

Author: Louis Halard
Review
Metalizer
3/5

Поклонники "похоронщины" и одновременно с этим – научной фантастики будут довольны, ибо эта вкусняшка окажется самое то для них. Если вы не читали творчество Артура Кларка или не знакомы с его произведениями даже понаслышке, то боюсь вам будет сложно понять эту работу. Название было заимствовано из рассказа/повести вышеупомянутого писателя "Девять миллиардов имен Бога", а суть альбома в том, как видит тему разрушения собственного мира человека через призму общего конца света сибирская команда Station Dysthymia. Впрочем не будем забывать, что в оценке по критериям полотен, в первую очередь, обращаем внимание на музыкальную сторону. Стержень "Overhead, Without Any Fuss, The Stars Were Going Out" состоит из funeral doom метала, но упомянуть только об этом, значит ничего не сказать. Помимо всего прочего, группа упорно демонстрирует все изгибы экспериментальных методов, прибавляя в эту плотную, давящую массу бетонного звучания – шугейз, нойз и даже местами психоделию. Для неподготовленных слушателей будет тяжело узреть релиз в его собственном соку, так как такой дерзкий сплав отчаянно давит на уши и мозг, всячески мешая адекватно воспринимать посылаемую музыкальную информацию. Тем более, что старт берется очень лихо – с трека "A Concrete Wall" общим хронометражем почти в 35 минут. Согласитесь, это уже слишком! Вот так сходу и плавится мозг, особенно учитывая то, что следующий далее номер "Ichor" не намного уступает предыдущему – около 19 минут, а ощущение остается такое, будто это продолжение первого трека. Альбом отличается своей исключительной завершённостью, здесь спора нет, полноценный монолит, но в результате эффект создается такой, словно играет одна большая и очень нудная композиция. Завладевает чувство как будто тонешь и потихоньку задыхаешься, воздуха не хватает всё больше и больше, пока окончательно не останавливается биение пульса. Медленно и плавно умирающий релиз, наверное, по задуманному пути и должен в конечном итоге получиться именно таким, ведь общая картина – увядание жизни и торжество смерти. Можно добавить – всё по канонам жанра. До безобразия терпеть не могу эту фразу, но здесь она кажется как нельзя кстати: "Начали за здравие, а закончили за упокой", причем здесь она трактуется непосредственно в позитивном ключе. Оставшиеся два трека придерживаются общего курса, направленного на заключительный этап диска – поддержание глубины атмосферы, утопающей в недрах беспросветной бездны. Здесь нет борьбы, ее наличие изначально даже не предполагалось, лишь смирение и осознание созерцания бытия. Это объятие конца времен… Релиз предоставлен Solitude Productions.

Атмосфера – 4/5
Техника – 3/5
Материал – 3/5
Реализация – 3/5

Author: Валентина PANTERA Катышева
Review
Chronicles of Chaos
8.5/10
23.12.2013

_Overhead, Without Any Fuss, the Stars Were Going Out_ (_OWAFtSWGO_?), the second album by this unheralded Russian group of four anonymous musicians, is probably -- together with Abstract Spirit's _Theomorphic Defectiveness_ -- the most interesting musical offering of the year 2013 when compared to the other albums released by the very productive label Solitude Productions. Among the plethora of inconsequential Gothic doom and other melodic and mostly uninspired doom albums, this album whose name I shall not repeat (one of the longest titles in the history of metal?) shines like a black diamond with a pulsating bright core, overshadowing almost entirely the other dozen or more releases Solitude has generously bestowed upon me.
If to judge only upon what's been offered to the world by Solitude Productions, 2013 has been a very dull year for doom metal specifically; but once you choose quality over quantity, suffice to say a couple of brilliant Solitude Productions releases have more than compensated for the overall lack of quality.

These two aforementioned albums, namely Station Dysthymia's second opus and Abstract Spirit's above mentioned masterpiece -- both by Russian bands, both offering a very different and alien sound to the masses -- have got another common factor in the form of Abstract Spirit's band members appearing in the recording as guest musicians (mainly additional vocals and synthesizers), but make no mistakes here: Station Dysthymia's sophomore album is nothing like the music of Abstract Spirit -- not even close.

Instead, this relatively unknown band of four offer a very different musical landscape, embodied especially in the album's monumental first track, a monster of a song titled "A Concrete Wall": 35 minutes of dystopian soundscapes of total nihilism, industrial dehumanization and urban decay you could actually feel hitting you right in the face, with their foul, hot stench, strange, almost psychedelic leanings, guitar effects and strumming that correspond with shoegaze and post-rock-ish etiquette, droning high-pitched and primitive "solos" and spoken, often processed, almost militarized vocals chanting over and over again how fucked we all are and that we should embrace the End of Times and all that.

The atmosphere is suffocating and raw, and the 35 minutes of that first track (out of the 72 minutes of total playing time) are the most interesting thing this album has got to offer; some bizarre, unsettling post-apocalyptic hymn to all that is decaying and rotting away, played in a very slow, held back, manner, conjuring sinister landscapes, sentiments of mystery and dark emotions of despair.

Those who appreciate the sound of Dolorian's monumental self titled album must check out this record, or even just that very first track, for the rest of the album comprises mediocre, if effective, funeral doom of sorts. Although it shares the same velocity with that of the opening track, it is far removed both in aesthetics and originality from it, ultimately sounding nothing like the intimidating, ritualistic and dark "A Concrete Wall".

_Overhead, Without Any Fuss, the Stars Were Going Out_ (here, I did it again; I actually wrote the whole damn album title again...) has taken me by total surprise for being so good and captivating as it is, and for embracing a unique sound and style rarely heard in the underground circles: grey and lifeless music, mind numbing and soul crushing with its sonic portrayal of an absolute hopelessness and doom. Station Dysthymia could have easily released a single track album comprising of that first, 35-minutes long track and get all the praise it deserves -- instead they had to slightly ruin it with additional (and totally redundant, for that matter) three tracks of average funeral doom that have got absolutely nothing to do with the sombre magnificence of the opening song.

Overall, this album is a great newcomer and one of 2013's best offerings. Check out "A Concrete Wall" on the band's Bandcamp site -- it will blow your fucking mind!

Author: Chaim Drishner
Review
Metal.de
3/10
05.08.2013

Funeral Doom aus Russland ist eigentlich dafür bekannt, massiv, episch und monolithisch die Dunkelheit zu zelebrieren. Aber wie in jedem Genre gibt es leider auch hier immer wieder Exemplare, die es nicht wirklich schaffen, den Hörer zu fesseln und eher nichtssagend vor sich her dümpeln und somit die Nerven nur unnötig strapazieren.

Und genau hier sind wir STATION DYSTHYMIA. Kernstück von “Overhead, Without Any Fuss, The Stars Were Going Out“, dem zweiten Output der Russen, ist dabei der knapp 35-minütige Opener “A Concrete Wall”. Leise beginnend entwickelt dieses Stück innerhalb seiner überlangen Spielzeit einen Strudel, der den Hörer eigentlich die Umwelt vergessen lassen sollte. Dies klingt zwar im ersten Moment ansprechend und erinnert aufgrund des Sounds und der massiven Arrangements nicht selten an Bands wie AHAB oder SEPTIC MIND, allerdings kristallisieren sich hier schon innerhalb der ersten Minuten die Probleme von STATION DYSTHYMIA heraus. Die Musiker verzetteln sich nämlich nur allzu gerne in ihren dunklen, gigantischen Songkonstruktionen und bieten nur wenig Abwechslung und Dynamik. Somit sucht man die eigentlich vorherrschende Atmosphäre vergebens und selbst nach mehrmaligem Hören stellt sich unweigerlich das Gefühl ein, dass man dieses Stück auf schlappe zehn Minuten hätte kürzen können.

Dies ändert sich auch im weiteren Verlauf von “Overhead, Without Any Fuss, The Stars Were Going Out“ nicht, was aus diesem Funeral Doom-Brocken eine sehr zähe und wenig ansprechende Angelegenheit macht. Manch einer würde jetzt sagen, das Funeral Doom so klingen muss, aber auch in diesem, von seiner monolithischen Aura lebenden Genre kommt es auf darauf an, Spannung zu erzeugen. Und genau hier versagen die Jungs auf ganzer Linie. Es mangelt einfach an allen Ecken und Enden, um dieser monotonen und eindimensionalen musikalischen Reise das gewisse Etwas zu verpassen, gerade deswegen da alle vier vorhandene Songs einfach nur ausdruckslos und völlig austauschbar klingen.

Der langen Rede kurzer Sinn:“Overhead, Without Any Fuss, The Stars Were Going Out“ ist ein im besten Falle unterdurchschnittliches Doom-Werk, das zwar im Ansatz Erhabenheit vorgaukelt, aber eben unter der Oberfläche nichts davon bietet. Völlig eindruckslos rollt dieser kleine Kieselstein an einem vorbei, wobei man ihn anfangs für einen großen Felsbrocken hätte halten können.

Author: Florian Hefft
Review
Hardsounds
7/10
16.09.2013

Secondo capitolo a distanza di quattro anni dall'esordio 'Only Gray Days' per gli Station Dythymia, ennesima funeral doom band proveniente dalla Russia, terra fertile per il genere anche grazie al marchio della Solitude Prod. che non lesina mai su nuove uscite. Il sound proposto è puro funeral doom pesante e avvolgente, senza fronzoli e con la sola intenzione di volere essere null'altro che desolazione nei suoni dilatati che si annidano nei meandri delle song che scorrono in 'Overhead, Without Any Fuss, The Stars Were Going Out'. Le quattro lunghe traccie che lo compongono vi scaveranno dentro e vi accompagneranno nel silenzio angosciante su di un sentiero senza fine; la sola track iniziale "A Concrete Wall" può diventare un muro ossessivamente insormontabile da scavalcare se non si è pronti e collaudati ascoltatori del genere: non si vedrà mai la luce dei restanti tre brani vista la sua durata di ben 34 minuti. La preziosa collaborazione di Grag Chandler degli Esoteric in sede di consolle rende i suoni glaciali come una notte d'inverno siberiano, la stessa notte che vi accompagnerà lungo tutto il sentiero di 'Overhead, Without Any Fuss, The Stars Were Going Out'.

Un album che farà la felicità di chi non cerca altro che puro funeral doom.

Author: Salvatore Palladino
Review
Pitchline Zine
8.5/10
29.10.2013

Prosigo mi particular periplo por tierras rusas de la mano de Solitude Productions y su cosecha de bandas afiliadas al Funeral Doom y sus diferentes maneras de afrontarlo e interpretarlo. Station Dysthymia es una joven formación que en este 2013 ha editado, bajo el auspicio de la citada productora, su segundo álbum, tras "Only gray days", trabajo auto editado y que vio la luz en 2009.

Y más que buenas son las sensaciones que me ha transmitido este compacto compuesto por cuatro temas repartidos en más de una hora de duración (ya solo el primer corte dura más de treinta minutos). El citado primer corte, "A concrete wall", va a mostrarnos el camino que vamos a recorrer junto al cuarteto ruso, que no es otro que el de un Funeral Doom profundamente emotivo y oscuro, a ratos minimalista, a ratos desconcertante e inquietante. Desde la densidad y gravedad propias del género, transitamos a su vez por parajes calmados y ambientales hasta llegar a sumergirnos plácidamente en el Drone y sus sofocantes expansiones sonoras. Esa variedad a la hora de asimilar el lado más tenebroso de la música hace de la propuesta de Station Dysthymia algo realmente apetecible y jugoso. Su conjunto de atmósferas consiguen cautivarte y atraparte, conduciendo tus sentimientos desde el desgarro y la desolación hasta la íntima y solitaria contemplación, sin atisbo de complacencia o dulzura. Lo que emerge, más bien, es la locura y el miedo que se retuercen en nuestro interior en una agonía paroxística, como refleja el final de este primer corte, en sí mismo una oda a la desesperación y al desconcierto donde consigue brillar una tenue y hermosa luz en su ocaso.

El segundo tema, "Ichor", prosigue el sendero abierto por "A concrete wall", con vastos pasajes drone que acaban por engarzar con melodías evocadoras de una lejana e hiriente melancolía. En todo caso, el clima de esta obra parece estar siempre cargado de una pesadez que puede sentirse con el lánguido deslizarse de las notas y las armonías. Algunas bandas entienden que la mera ralentización del tempo es suficiente para conseguir crear estas sensaciones, pero no es así. Es necesario sentir cómo la distorsión de la guitarra permanece en el aire, en nuestros sentidos, cómo se diluye lentamente y desgrana su pesadumbre paralizando el tiempo, como si la música pereciera en cada acorde y nosotros con ella.

"Starlit: a rude awakening" sigue la línea de sus predecesores, combinando sabiamente la crudeza con la belleza, la desesperación con la perpetua melancolía. Y el viaje termina con "Starlit: we rest at last", un titulo revelador para un tema instrumental (si bien el apartado vocal no es el mayor protagonista de este trabajo) que pone el broche a un disco que ofrece una gran riqueza sonora, arrastrándonos hacia confines donde solo un alma atormentada y sensible puede acceder, a merced del desamparo, el dolor y el sueño.

Sin ninguna duda, Station Dysthymia merecen llegar lejos con esta personal epopeya, emprendida a lomos de una música honesta y profunda, a través de las sombrías sensaciones y los perturbadores sentimientos que produce el mero hecho de la existencia. Ciertamente, a estas alturas casi todos los estilos musicales han sido ya inventados y reinventados, pero no todas las bandas saben acercarse a uno y hacerlo propio, reinterpretándolo de una manera personal, aun cuando las influencias sean reconocibles. Station Dysthimia han demostrado que saben hacerlo de una manera más que notable.

Author: Jaime Fernandez
Review
Spirit of Metal
30.08.2013

Pour son second album, la formation russe Station Dysthymia nous propose un Funeral Doom riche et difficile d'accès qui n'est pas sans évoquer Esoteric (la présence de Greg Chandler au mastering n'est d'ailleurs pas surprenante), et qui cherche à traduire en musique des thématiques tirées de la science-fiction, le titre de l'album étant d'ailleurs une citation d'une nouvelle d'Arthur C. Clarke, auteur en autres de l'Odyssée de l'Espace.

Et A Concrete Wall, véritable mastodonte de 35 minutes qui ouvre l'album, est une parfaite illustration de ce concept. Le "mur concret" du titre correspond à la fin des temps, à l’Armageddon, au point à partir duquel ne subsiste que le néant. L'illustration que nous en font les musiciens russes, particulièrement travaillée, retranscrit à merveille la dimension incommensurable et implacable d'un tel évènement, à travers un travail de composition aussi évocateur que passionnant. Ainsi, l'un des points les plus importants à remarquer est le parallélisme qui s'instaure entre progression musicale et progression thématique, les différentes séquences du morceau s'enchainant de manière très narrative, faisant de la piste non pas une chanson sur l'Apocalypse, mais bel et bien une description sonore de l'évènement.
Par exemple, lors de la première partie le chant comme les paroles sont extrêmement pessimistes et ne laissent aucun espoir quand au futur de l'humanité, la seule porte de sortie semblant être une acceptation mystique de notre fin, traduite au sein du morceau par des chœurs sombres nous enjoignant de nous abandonner à la fin des temps ainsi que par des passages en chant de gorge tibétain. Mais lorsque la musique plonge vers des dimensions bien plus minimalistes, cette "zénitude" semble vaciller, la guitare parvenant de manière inexplicable à incarner le doute qui s'instille dans l'esprit des mystiques les plus aguerris. Il n'est donc pas surprenant de voir que la suite des paroles aborde la question d'un point de vue bien plus nihiliste: puisque tous disparaîtront, peu importe la manière de vivre cette fin.
Et lorsqu'enfin l’Armageddon commence bel et bien, c'est un concert de hurlements qui nous en avertit (au sein duquel on notera la présence en guest de M.Hater et I.Stellarghost d'Abstract Spirit, la demoiselle proposant également ses talents de claviériste sur le morceau de fin) et qui incarne l'humanité toute entière en train de se consumer, le reste du morceau étant d'ailleurs à partir de ce point instrumental, seule véritable manière de dépeindre le nuage de poussière flottant dans le vide qui sera à ce moment là l'unique témoin de l'existence passée de notre monde. Un morceau aussi cataclysmique que passionnant de bout en bout.

A tel point que le reste de l'album pourrait sembler inutile, car après tout, que reste-t-il vraiment à dire suite à cela ? De fait, le morceau Ichor ne convainc pas totalement au premier abord: bien que musicalement la qualité soit bel et bien présente et que de nouveaux éléments soient mis en avant (un passage mettant en scène un orgue notamment), il reste trop proche de A Concrete Wall pour intéresser un auditeur encore sous l'emprise du mastodonte précité, et s'apprécie mieux après qu'un certain nombre d'écoutes aient permis de dissiper le choc initial que nous fait subir la découverte du début de l'album.
Les deux morceaux de fin, Starlit: A Rude Awakening et l'instrumentale Starlit: We Rest at Last sont par contre bien plus aptes à se démarquer de part leur dimension bien plus mélancolique et mélodique, tout en n'oubliant pas de surprendre à l'occasion (l'étrange et trop courte accélération sur A Rude Awakening en est un bon exemple). Une paire de morceaux nous plongeant dans une sorte de spleen cosmique, de promenade dépressive dans l'espace, parmi les étoiles.

En clair, ce Overhead, without Any Fuss, the Stars Were Going Out est un excellent album, qui après un premier contact qui risque sans doute de s'avérer légèrement ardu pour beaucoup d'auditeurs gagnera en puissance au fil des écoutes. Le groupe russe va au bout de son concept et nous livre une petite perle d'ambiance et de richesse..

Author: Peacewalker
Review
Funeral Wedding
5/5

Overhead, Without Any Fuss, the Stars Were Going Out é o nome do mais recente trabalho do quarteto russo Station Dysthymia, com um som bem arrastado, esse play leva você à uma longa viagem “funerária”…

“A Concrete Wall” abre o álbum, com a duração de 34 minutos, essa faixa trás um grande arrasto melódico, com uma mescla de vocais limpos e guturais no começo, tem um certo momento que o ouvinte se sente “preso” a uma atmosfera distorcida e obscura, talvez esse seja o objetivo desta faixa, te fazer sentir preso a esse “mundo” criado pelos membros.

“Ichor” vem na sequência, trazendo um inicio com a mesma atmosfera criada por sua primeira faixa, a mescla de distorções com o gutural “macabro” do vocalista “B.”, mais uma vez fazendo você caminhar com eles nessa faixa.

A faixa 3 “Starlit: A Rude Awakening” vem com uma pequena mudança no play, agora com um death/doom, mas mantendo o arrasto longo (talvez seja a faixa “mais rapidinha” do álbum), nesta musica o ouvinte pode conhecer melhor o trabalho vocal do “B.”, alias um dos fortes da banda na minha opinião, é esse gutural agoniante.

“Starlit: We Rest at Last” é o termino deste álbum, com 10 minutos a mais que sua antecessora, é uma faixa instrumental, o arrasto característico se mostra novamente forte e presente como nunca, aqui você encontra perfeita harmonia entre o funeral doom e o death/doom proposto pela banda, uma incrível faixa com distorções e linhas de bateria lentas e cruas…

Encerrando, é um bom álbum para fãs de funeral doom, com melodias cruas, densas e agoniantes, linhas de guitarra destorcidas, bateria lenta, bem interessante o trabalho desses russos, para quem não conhece, eles tem um trabalho lançado em 2009, intitulado “Only Gray Days”, esse tem influencias de drone, bem interessante.
Review
R.U.M. Zine

Doom metalové tažení po světě pokračuje, ovšem tentokrát se jedná o skutečný EXTRÉM! Ruská tryzna STATION DYSTHYMIA na svém druhém počinu pokračuje v nastolené cestě totálního funeralu, jež svou obsáhlostí zakresluje do myslí posluchačů obrazy nepodobné ambientním zákoutím. Zvukový tok za přispění tradičních nástrojů je totiž absurdně-monotonní sbíječkou, která vytváří aroma zatuchlosti a bezbřehého smradu. Tenhle materiál je o naprosté nedýchatelnosti. Čelo se potí, ruce se třesou a nelibé tóny pomalu směřují až k ušním bubínkům. Je tohle ještě hudební umění? Založí na okolnostech…a především přístupu samotného posluchače.

Předně je třeba připomenout, že produkce STATION DYSTHYMIA připomíná živou hmotu, která se hýbe pouze po milimetrech. Vlastně ani nelze čekat na nějaké kulminace nálad či něčeho podobného. Tahle kulisa se zkrátka vleče a vleče a vleče…výsledek pochopitelně žádný, ale proč ho také čekat? Jde v podstatě jen o atmosféru, jež vychází ze zvukového válce, pomaličku valícího se do údolí smrti. Ale je tohle ještě „hudba“ pro milovníka doom metalové klasiky? Asi stěží, byť spousta šílenců si bude při téhle depresivní platformě hojit duševní rány. Ale znovu…proč NE? Možná, že i za tímto účelem STATION DYSTHYMIA tvoří. Je však otázkou, jestli jde v jejich případě o pouhou improvizaci, anebo zda-li jsou schopni alespoň částečně něco z uvedeného materiálu použít i naživo. Při projíždění ústřední kompozice „A Concerte Wall“, čítající víc jak třicet minut, mám dojem, že je to patrně nemožné. Ale třeba se pletu…

Ovšem tak jak je hudba kapely tajemná, úplně stejně je to s identitou jednotlivých členů. Posuďte sami: Za hlasovým murmurem, dá se říci dalším to nástrojem, je schován mistr B., obsluhující zároveň i basu. Dále tu máme kytaristy A.+ S. a v neposlední řadě tu ještě najdeme poslední „písmenko“, kterým je O (jinak bicí). Jedinou známou a zároveň pojmenovanou osobou v bookletu je Greg Chandler z ESOTERIC, v jehož studiu byl zrealizován finální mastering. Pravý důkaz toho, že na tvorbě těchto podivínů přece jen něco je, i když na tohle krédo si každý posluchač musí přijít sám.

STATION DYSTHYMIA tímto se tímto albem znovu dotkli hranic v překonávání zatuchlosti a pochopitelně také pomalosti. Experiment? Kam až se dá vůbec zajít? Mnozí z vás se asi budou ptát, k čemu všemu tohle všechno vlastně je. Má odpověď? Každý jsme hold z úplně jiného těsta. Tahle hudební hmota se ze sta najde cca. dvě procenta posluchačů a podle mého názoru je vůbec obdivuhodné, že se borci něčemu takovému vůbec propůjčili. Nicméně celá řada psoluchačů zkouší neustále nové věci, zkouší hledat a právě pro tyto dobrodruhy je deska „Overhead, Without Any Fuss, The Stars Were Going Out“ jako dělaná. Stay slowly!
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