Seesar - The Silver Key
Reads: 3110 times
69%
"Dreamlands" series is well known to Lovercraft’s fans, although it is diversely perceived by them. Different in style from most classical achievements, taking even from the mythological world of a Providence Loner, focuses on something else - as it is clearly evidenced by "Silver Key", a short piece summarizing, in which character - alter ego of the writer, Randolph Carter –in an inexplicable way bends "time, space, vision and reality", escaping to the childhood, to dreamed cities, from rational world. Its attribute mentioned in the title is not coincidentally taking form of the key - it has a symbolic meaning, in the stories, however, it is literally used to open the door to another world.
EP from a dark ambient project Seesar refers to that series obviously, acting not only as an independent contribution to postlovecraft heritage, but also as a suitable illustrative music, so it focuses more on the plot, mood than ideological baggage. Horror fans should not be disappointed.
Will Connor, who is responsible for this project, works on every day basis as musicologist, which turned out to be helpful in the Seesar’s conception. He uses richly percussion’s oddities such as a bicycle, pots’ covers... They are present, alive in each of the three tracks on "The Silver Key", adding them ghastly mysteriousness and interesting variety. At the same time there are more traditional instruments than in the first material ("Flight of Raphtontis"), which gives the compositions ethnic feature, resigning also from choking fear for a wider, spatial anxiety.
Journey to the land of dreams begins with darkened uncertainty "Turning the Silver Key", contained in sounds of the background, underlined by monotonous drums. These drums are advantage of mini-album because of the fluidity in change of rhythm. Initially, monotonous, slow strikes undergo reorganization, tempo begins to accelerate, there is more of unreal noise, and if that was not enough - sounds resembling with their color of an oriental flute, but if unlike to earthly instrument, initiate the transition to an alternate dimension, confirmed by coming back to the intense, constant pulsation. Infused for good in ritual imitation, Seesar in "Summoning Minions of Karakal" consistently builds terror. Greater importance has there multiplicity of sounds’ spots, forming a foggy, gloomy landscape. Among individual plates’ strikes complex drums gain "tribal" character gradually, in demonic groans periodically withdraw and intensify, eventually eclipsing all in rhythms straight from Africa; despite that about foreignness still testifies heard earlier flute. In turn, "Black Galleon Bond for Leng" is ruled by sounds, to which the ear is least used to. Hypnotic, waving distortion slowly puts to sleep, but with its distortion does not allow to dream. Instead it effectively make it unreal, bringing from vital work of percussion’s section a kind of complete horror rattling, covered with sonar sounds or unknown sea creatures living nearby surrounded in "Necronomicon" with reverence Leng plateau.
I enjoyed "The Silver Key" more than the debut, perhaps due to the greater relative consistency among diversity of textures. It is a rewarding supplement to "Flight of Raphtontis".
Tracklist:
01. Turning the Silver Key
02. Summoning Minions of Karakal
03. Black Galleon Bond for Leng
Other articles:
EP from a dark ambient project Seesar refers to that series obviously, acting not only as an independent contribution to postlovecraft heritage, but also as a suitable illustrative music, so it focuses more on the plot, mood than ideological baggage. Horror fans should not be disappointed.
Will Connor, who is responsible for this project, works on every day basis as musicologist, which turned out to be helpful in the Seesar’s conception. He uses richly percussion’s oddities such as a bicycle, pots’ covers... They are present, alive in each of the three tracks on "The Silver Key", adding them ghastly mysteriousness and interesting variety. At the same time there are more traditional instruments than in the first material ("Flight of Raphtontis"), which gives the compositions ethnic feature, resigning also from choking fear for a wider, spatial anxiety.
Journey to the land of dreams begins with darkened uncertainty "Turning the Silver Key", contained in sounds of the background, underlined by monotonous drums. These drums are advantage of mini-album because of the fluidity in change of rhythm. Initially, monotonous, slow strikes undergo reorganization, tempo begins to accelerate, there is more of unreal noise, and if that was not enough - sounds resembling with their color of an oriental flute, but if unlike to earthly instrument, initiate the transition to an alternate dimension, confirmed by coming back to the intense, constant pulsation. Infused for good in ritual imitation, Seesar in "Summoning Minions of Karakal" consistently builds terror. Greater importance has there multiplicity of sounds’ spots, forming a foggy, gloomy landscape. Among individual plates’ strikes complex drums gain "tribal" character gradually, in demonic groans periodically withdraw and intensify, eventually eclipsing all in rhythms straight from Africa; despite that about foreignness still testifies heard earlier flute. In turn, "Black Galleon Bond for Leng" is ruled by sounds, to which the ear is least used to. Hypnotic, waving distortion slowly puts to sleep, but with its distortion does not allow to dream. Instead it effectively make it unreal, bringing from vital work of percussion’s section a kind of complete horror rattling, covered with sonar sounds or unknown sea creatures living nearby surrounded in "Necronomicon" with reverence Leng plateau.
I enjoyed "The Silver Key" more than the debut, perhaps due to the greater relative consistency among diversity of textures. It is a rewarding supplement to "Flight of Raphtontis".
Tracklist:
01. Turning the Silver Key
02. Summoning Minions of Karakal
03. Black Galleon Bond for Leng
Other articles:
- Seesar - Flight of Raphtontis - 2015-01-31 (Music reviews)
