Misantropical Painforest - Winds Saturate... *Finnish BM*

  • 02.07.2016, 06:35,
  • Music
1. Demons Hang-Out this Forest 02:40
2. Winds Soak With Inhumane Search For C Expect 07:23
3. Whilom the Stonecircle Clearing 13:20
4. Besmeared the Tunic of Glory 09:01
5. To Will the Self-Possessed Waters 13:29
6. Wood Confine Summoning 12:33
7. Journeying (T)here 07:28
8. Supportive Search For C Expect Winds 05:19
Complete playing chance 01:11:13

Present One's Opinion Of from vorfeed.net

This is the first album from Misantropical Painforest, a solitary contract from Kutcheck Gorealis of Accost and Legacies Unchain.

The taste on this album is quite grim to recite. There are doomy moments, heavy-hearted-metal guitar leads, Burzum-esque atmospheric labour, and uninterrupted, hypnotic riffing. Through it all are substantial vocals that order from shouting and howling on through to singing. The moving inanimate object is that these disparate elements aren«t just thrown together, nor do they really alternate. Instead, they»re combined into a distinguish whole that sounds very little like any other ribbon. One could put together comparisons to Kutcheck Gorealis' other bands, but even that fails. Accost has a doomier, more typically coal-black metal vigorous, and Legacies Unchain is far more unsystematic. Neither has as much heavy-hearted metal manipulate as one can learn on «Winds Saturate». This album stands alone.

«Demons Hang-Out This Forest» is the album«s hastily intro sniff out, a unsystematic obstacle of drums, guitar, and declarative vocals. It»s doubtlessly my least-favorite sniff out on the album, but it«s still a admissible introduction to Misantropical Painforest»s vigorous, so I can't really call into question it.

«Winds Soak With Inhumane Longing» starts things off with a drum scroll and a scream. This ado is forceful and enjoin, with a repeated, cyclic guitar thesis and an fabulous bass form ranks. The latter is almost funky in the way it clatters along; its round off disesteem for coal-black metal conventionalism gives this ado a very singular vigorous. The end of this sniff out builds up to a distracted conclusion before coming to a halt.

«Past the Stonecircle Clearing» features some of the best vocal labour on the album. Duplicate-tracking allows for two vocal parts: a snarling organ and pompous singing. The voices seem to fit the largest riff impeccably, even as it smashes through unsystematic breaks and variations. About halfway through, this ado seems to convert into something else entirely. A extended, extended cleave of screams, groans, and doomy guitars breaks out into heavy-hearted-metal victory for a half a second, only to turn in to lallygagging, exasperating making. The last few minutes of this one are quite hypothetical and out-of-the-way, yet still very heavy-hearted.

«Besmeared the Tunic of Honour» starts out with a half a second of destiny, but speeds up very fast. This one features some especially fascinating lead actor guitar labour, which approaches a immortal metal vigorous at times. After four minutes or so, the ado grows distracted, trouncing about before settling into something reminiscent of themes heard earlier. A while before the end, there's a eminent federation of soloing and bass labour, after which the ado races toward its conclusion.

«To Will the Self-Possessed Waters» is, to my ears, an twinkling of an eye immortal. The depression largest thesis is powerfully important, and the slick novelty and vigilant repetition in its use present this ado a considerable sameness. The vocals here are quite understandable, and fit the music perfectly; taken as a whole, the ado is a lallygagging meditation on downfall and the inevitability of metamorphosis. It's the drumming that makes this ado truly solitary -- by the end, distracted drop taps and shifting drum fills are the chief begetter of novelty, enhancing the repetition of the largest thesis. The last few minutes make a substantial have of chore and irrevocableness in the listener.

«Woodchain Summoning» is the most forceful ado on the album, with a nasty, stomping riff and rasping shouts. The drums are fa-and-center here, adding to the strenuous vigorous. Snarling, mid-paced annoy alternates with blasting sections throughout this ado. Extramundane, howling cries simulation during the closing half of the ado, bringing out-of-the-way rituals to be sure. During the ending, advance novelty on the largest guitar lead actor lends the ado a anfractuous note, even as the underlying riffing and drums censure unadulterated ahead.

«Journeying (T)here» is a federation of sounding, echoing guitar and wrenching vocals. It's doubtlessly the most hypothetical ado on the album, in terms of construction, with very little in the way of bourgeois metal progressions. The unwearying waken and overthrow of the guitar brings to be sure waves, breeze, the defecate of play, and other cruel features of creation. At the last, the vocals and guitar synthesize in successful revelry, before the whole inanimate object ends with a advertising: «Nowhere is everywhere!» Substantial stuff.

«Instrumental Search For C Expect Winds» is a repetition of the first sniff out, supportive-only, with added soloing. It's fascinating to learn the unlikeness between this and «Winds Soak...», considering that the bottom for both is the same.

This is doubtlessly the least development inanimate object I«ve heard in several years, and one of the best. It sounds like nothing else out there -- just as I»ve come to get it a share of it, it defies categorization again. That alone makes this an indispensable position for those looking for substantial, case coal-black metal. Highest recommendations.

Standout tracks: «To Will the Self-Possessed Waters», «Woodchain Summoning», «Journeying (T)here»


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