SHROUD OF DESPONDENCY
SHROUD OF DESPONDENCY “Air of Abrasion”
By Dr. Abner Mality
I don’t think many would argue that black metal is not quite what it used to be. The quality and novelty of this sub-genre seems sorely tested after many years of bands treading the same grey path. But all is not lost, at least as long as bands like Milwaukee’s SHROUD OF DESPONDENCY still walk the Earth.
These dudes have been around a fair number of years, but “Air of Abrasion” is by far their most ambitious work yet. The band is basically two men, but it sounds like about 20 played on this effort. It’s a surprising journey that starts with black and feral ferocity and ends with progressive, almost operatic hugeness. Each of the 5 tracks here is very distinct and each has the time to take some risks and create moods. In some cases, they have too much time, but even then, the ambition has to be commended, especially for a band without a label.
The first track has the odd name of “A Boy Called Erosion” and is the most “classical” sounding black metal assault on the album, with cryogenically cold riffing from the tundra and ripped throat vocals. It’s fast, dark and pays tribute to the masters of the 90’s. Now that that debt is paid, “From The Stomach” gives us another side of S.O.D. This one is a constantly shifting and aggressive attack, tossing a ton of riffs at the listener with an almost CARCASS like vibe. This is just an excellent attack of blackened death that never lets up.
Then things REALLY change up. The loquaciously titled “The Machine That Grinds On Is The Machine That Needs Blood” starts with grim synth and piano before a dreary, trudging hook breaks in. “Grinds On” is right...this track goes just a bit too long for me, but it really shows S.O.D. is not content to do the expected. Call this blackened symphonic doom, with the first appearance of clean vocals. “Water In the Cemetery” takes things even further, starting almost like a TULL track with sad flute and piano. And that’s where the track stays for much of its length, with more clean vocals. A shredding neoclassical guitar solo adds intensity, but I wouldn’t call this track black or death metal at all, but something more akin to early 70’s occult rock.
The monster 14 minute plus “Entropy Divine” starts with almost happy pastoral tones. There’s a lot of OPETH in this cut, which bit by bit picks up intensity until an avalanche of drums and black metal riffing finally kick in. This is over the top and grandiose in the vein of CRADLE OF FILTH. This one’s too rich for my blood. By the time it finally drops back down to more folkiness, I was more than ready to move on. But it’s so different from the first couple of tracks that it’s hard to believe it’s the same band performing the song.
Yes, I would have pruned a few minutes from a couple of these tracks, but even so, this is a pretty bold statement from SHROUD OF DESPONDENCY, a band not afraid of a challenge. That’s more of what black metal needs these days.