The CD counter gives eleven tracks in 38 minutes, of which two tracks are over 5 minutes; the rest is below. Seeing this before listening to the music makes me wonder how it will build up. The opening “Mazaron” has vocals and implies a death / black metal kinda atmosphere, but luckily “, Raphalut” is soon entering the area of sounds we like. Noisy structures, throbbing layers, feedback where you want it – well positioned in the panorama – and massive effects but not to the point of the whole drone being an overworked reverb. All aggression and despair are adequately dosed and form a massive, well-produced album.
There are some moments where that death / black atmosphere returns, like in “Piron” and “Margaleth”, but it’s more than okay at this time in the album. It somehow found its spot, and because we were introduced at an earlier stage, this layer of aggression fits the music very well. So relistening the whole album for a second, third, and fourth time made it more and more a very well thought of conceptual composition; as said, it was very well produced and an absolute joy to listen to.
So, what is Lucaslavia all about? Let’s start reading the promo sheets. It is a project by Stefan Goldmann. Someone I had never heard of, but you can’t know everybody. He is very (VERY!) active in Berlin and Berghain, but that has never been part of my life or interest. Stefan’s activities, however, are on so many levels and in so many directions that I might take an afternoon off to scroll through his discography and see if – next to this first release of his Lucaslavia moniker – more interesting stuff because this guy knows what he’s doing. The backside confirms the earlier description I found for this album. It’s tagged Death Ambient and ‘operates on the outer rings of metal’. Yes, a welcome addition to anybody who likes the ‘creepy atmospheric parts’ on more extreme metal releases, as well as interesting to anybody who wants to touch the void between drones and death industrial.
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