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BOTANIST/OSKOREIEN


BOTANIST/OSKOREIEN 

"EP3: Green Metal / Deterministic Chaos"

By Octopi Mills


"EP3: Green Metal / Deterministic Chaos" is a  "2x A-sided split album" as the promo states, if you are wondering....Avant Garde records has put this collaboration together.  This also means it comes with two front covers and two titles, as would separate albums...

We shall deal with Botanist's "Green Metal" first. Here we have something different that is still using orthodox  black metal vocals, more like the Burzumic vocals of old, that have that wild howl. You know them as they have become a certain standard. And I even believe that the fellow who used to do Maelstrom magazine is involved, making use of the hammered dulcimer. I further pry into the fellow's secrets and find he plays as close to what you hear as possible, and that little digital editing is done, perhaps. If so, interesting. A world where plants take back their throne, where trees grow to the clouds? One of my dreams too, and one of many a man, I'm sure. The music is reputed to have no guitars, either, and I find they've been around a while. The music though has a near shoe gazing effect that makes the plant life further away from my own floral tastes though, and creates, for instance, a more exotic, Mediterranean sort of species than say, a dark oak and ash grove. The flora is light and even more sunlit, and is not, say, like a damp garden of old mosses and lichens. There is a happy flight in the dulcimer that makes the vocals sound a little off, and the caretaker of this garden becomes a strange one indeed when pan-handling with the final song title "Dracula Vampira". I must say it is fresh air when you have heard so much stale black metal sub-species fighting as organisms to survive. There are some good ideas here, and it would be interesting to anyone wanting to hear something different.

The Oskoreien side is comprised of two songs, and the cover is another landscape that shows a little of what to expect. This too, is a western project, and it has a feel there, whether it wants it or not, and the first song surfs up a syrupy lead on a wave of digital doughnut glazing with a perforated hole that separates it from a European pasty, or a sharper, more dangerous Bavarian longhorn. The gaze and glaze is sweetened a little but houses too much cream for me to join board on such waves; for I am an amateur in such surfs. Though I can swim in my own way better than many men, and this is what I do; I fight to keep my head above these waters, and I will not give in to such tidal emotions that cause such fructose sorrows, and this I can do due to certain a immunity that makes me what I am. I watch the wave from afar, and wait for it to implode inwardly, as all do in the end. In this way I win, and walk away without residual effects. The machines wash around in this water and make it a digital banking, mechanical affair, like turbines in a great lake. The vocals howl around like a feral dog outwardly bound  and lose the wolfish, ancestral antiquity from where they came or where borrowed, and I watch the thing and calmly await it's demise. This last one was, perhaps, more of a joy purchase for the man who releases his own music to the world, and I can’t join it to the other ep in any way