Reviews: SODP111
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In a recording career that now spans more than a decade, the Russian band In Tenebriz has released nine albums and an even greater number of EPs and splits. Beginning with the Autumn Constellation album in 2015, In Tenebriz has pursued themes that use that the natural phenomena of the seasons as a way of reflecting the inner experiences of the lyrical protagonists, while drawing upon the elements of atmospheric black metal, doom, ambient music, and post-metal to give musical shape to these external changes and internal moods.
The newest album in this sequence is Winternight Poetry, and on this album the principal creator of In Tenebriz, Wolfir, has done everything, including the vocals. Conceptually the album is an interpretation of Hans Christian Andersen’s seven-part tale The Snow Queen, but with a dark twist: in the tale of Winternight Poetry, the protagonist Kai fails to spell the word on the frozen lake that will free him from the Snow Queen’s enchantment, and must therefore remain a prisoner in the kingdom of permafrost forever.
Like the story, the new album of In Tenebriz is divided into seven parts, totaling more than 38 minutes of music. The third of those parts is what we present today.
The music of “Winternight Poetry III” itself has a narrative quality, a changing movement that seems to accord with a changing experience. And it presents contrasts in sound that draw the listener in, and bring about alterations of mood that can be sensed without regard to any knowledge about the lyrical tale that’s being told.
The stage is set by a high, pinging keyboard melody over a lower ambient hum, and that motif reappears later in a familiar way, but not before In Tenebriz turns the music in a much darker and heavier direction with a slow, gloom-cloaked riff, a determined percussive pounding, and vampyric snarls mixed with wretched howls. When that light keyboard refrain returns, it comes with a soft syncopated beat and the layered strings of acoustic guitar crafting a brighter melody, as if capturing a remembrance of happier times. And when the power of the music swells again, it has a soaring, heart-lifting quality, though still edged with wistfulness.
But of course the mood falls again, and when a darting riff takes up residence, this part of the opus ends on a feeling of desperation.
https://www.nocleansinging.com/2018/05/14/an-ncs-premiere-in-tenebriz-winternight-poetry-iii/
Some of the coldest atmospheric black metal has in recent years been the result of exports from Russia and nearby territories.
Thus, our offering today is the latest release from Russia’s In Tenebriz; Winternight Poetry. The album was released by Symbol of Domination Productions from Belarus in tandem with More Hate Productions.
Winternight Poetry is a death/doom metal-treated album of predominantly atmospheric black metal. In fact, one of the finest moments I’ve heard in an atmospheric black metal album in a while is located at 3:12 in “Winterlight Poetry III.” But there’s quite a bit going on here on and beneath the surface. In Tenebriz also tastefully incorporates an old ambient sounding keyboard for a somber, grim background.
Portions of tracks like “Winternight Poetry II” bring us back to bands like old-school Tiamat with the slower-tempo and borderline death growl. Most of the tracks are fairly slow to mid-tempo but hold the listener in captivity. Some of the melodic tremolo picking rears its head in a modern, post-black metal kind of vibe.
Winternight Poetry is a really solid death metal inspired blackened release. In Tenebriz is a prolific artist whom I’m looking forward to hearing more from and this is a label putting out a lot of great material so be sure to check them out at the links below.
https://noisebeneaththesnow.com/2018/06/07/in-tenebriz-winternight-poetry-album-review-black-metal/
In Tenebriz are a solo project from Russia that plays a mixture of ambient, atmospheric black and doom metal and this is a review of his 2018 album "Winternight Poetry" which will be released on May 25th as a joint effort between Symbol Of Domination and More Hate Productions.
Ambient style synths start off the album and also mixes in with the heavier sections of the music while the slow riffs are very heavily rooted in doom metal along with the solos and leads being done in a very modern, melodic and atmospheric style and the riffs also bring in a great amount of melody.
Vocals are mostly grim yet depressive black metal screams while growls are also used at times along with a couple of the tracks being long and epic in length as well as a brief use of acoustic guitars. as the album progresses a brief instrumental can be heard and all of the songs stick to a slow direction and all of the musical instruments have a very powerful sound to them.
In Tenebriz plays a musical style that takes ambient, doom and atmospheric black metal and mixes them together to create a sound of his own, the production sounds very dark and heavy while the lyrics cover dark and poetic themes.
In my opinion In Tenebriz are a very great sounding mixture of ambient, atmospheric black and doom metal and if you are a fan of those musical genres, you should check out this solo project.
https://occultblackmetalzine.blogspot.com/2018/05/in-tenebrizwinternight-poetrysymbol-of.html
Earlier today, Decibel published a list of six underground black metal bands worthy of your time. If that list wasn’t enough for you, proceed to this full stream of the new album from Russia’s In Tenebriz, Winternight Poetry. A hypnotizing fusion of ambient, black metal and doom, the album is well-produced without being too polished and it never loses sight of the atmospheric qualities that underscore everything.
It’s hard to believe that In Tenebriz is the work of one individual, but everything was played by sole musician Wolfir. Devotees of atmospheric black and doom metal, take note: Winternight Poetry is out today through Symbol of Domination.
https://www.decibelmagazine.com/2018/05/25/full-album-stream-in-tenebriz-winternight-poetry/
Non è una novità imbattersi in one man band eufemisticamente definibili prolifiche, specialmente quando ad essere esplorato è lo sterminato territorio russo.
Gli In Tenebriz appartengono a questo novero e se, come sempre, in simili casi ci si chiede se tali caratteristiche non vadano a detrimento della qualità delle uscite, è anche vero che il più delle volte questi workaholic del metal sorprendono per l’ottimo livello medio espresso.
Con questo Winternight Poetry, Wolfir (al decimo full length in poco più di un decennio di attività, oltre ad un nugolo di ep e split album) offre un’interpretazione del death doom melodica e convincente, seppure a tratti un po’ minimale a livello di soluzioni tastieristiche.
Il tutto non penalizza più di tanto la resa finale, dato che il musicista moscovita è abile nell’alternare ampie aperture atmosferiche a passaggi di natura ambient e a riff robusti e decisi.
Winternight Poetry si esaurisce in poco meno di quaranta minuti lasciando buone sensazioni e qualche rimpianto relativo al fatto che, se il buon Wolfir si avvalesse di qualche aiuto ai vari strumenti, il risultato sarebbe potuto essere ancora più soddisfacente, come testimoniano ampiamente tracce come III e IV, le più emblematiche di doti compositive nient’affatto trascurabili.
https://metaleyes.iyezine.com/in-tenebriz-winternight-poetry/
Winternight Poetry is an album released on May 25, by the Belarusian record label Symbol of Domination Productions. The work of Russian atmospheric black metal project In Tenebriz, which was independently released in February 20, the record has seven tracks, all named Winternight Poetry, from one to seven; or you can interpret the work as having only one longer track, divided into seven parts, if you wish. A very sinister and diffuse black metal work, the macabre and grotesque symphonies of this record are generally consistent, and very sober, despite its basically calmer and serene – sometimes quite charming and beautiful – atmosphere.
A work that qualifies its own somber and precise style by the grace of its pungent and corrosive assertive melodies, the harmonies of Winternight Poetry are quite clear, ardently delineated, fragrantly comforting and beautifully simple. Marvelously executed to some degree, unfortunately, Winternight Poetry does have some moments of monotony, although nothing that can compromise the musical integrity of the work, nor your capability of actually appreciating the album. At the height of its qualities, I can certainly point it out the gracious and almost benevolent aspects of its salutary melodies, that crucially define with rude and objective maturity the lancinating cohesion of its nefarious style.
While Winternight Poetry cannot be regarded as a masterpiece, the work definitely has its merits. In the vivid and somber elaboration of a dense, afflictive and anxious atmosphere, that concomitantly sounds elevating and calm as well, In Tenebriz creates a lurid, diffuse and intriguing work, that revolves around the ambitions of its own grandiloquence the fundamental principles of its musical proposal, rejuvenating discreetly some aspects of the genre, like serenity as the alabaster of the sound, and its anomalous latencies, impregnated with permanently sinister despondencies.
While the album will hardly impress experienced listeners, it definitely maintains an individual degree of competence, that makes it worthwhile listening. Interesting for the most part, its excessive and easy slowness, though, at some point, becomes majorly tiresome. Nevertheless, you can listen without fear or remorse. Winternight Poetry is a lucid, intense and vibrating work, that manages to be an anthem of despair and morbidity, lost in the everlasting dust of the nocturnal sky.
http://www.merchantsofair.com/albums/in-tenebriz-winternight-poetry
In Tenebriz is one of Russia’s more adventurous extreme metal bands. Rather than just settle for plain old black or death metal, their previous releases have fused black metal elements with bits of drone rock and post-metal, lending an almost cinematic feel to their work. Their 2018 release ‘Winternight Poetry’ is arguably their most adventurous, presenting a seven chapter half hour suite telling the story of Kai, whom upon visiting the kingdom of the Snow Queen, is taken prisoner and forever trapped in a world of permafrost. You wouldn’t know that unless you were told, since – as always with things from a black/extreme metal perspective – the lyrics are hard to grasp without the aid of the written word. For most listeners, it’ll be down to the music to do the talking…and luckily, this release features some great sounds and arrangements, befitting of such a brave piece of conceptual and progressive metal.
Chapter one begins with an electronic drone, before a huge classic metal riff crushes the cold and fragile sound. Soon enough, a heavy twin lead guitar sound take over completely…at least for a while. Eventually, the keyboard riff returns and both manage to hang on to important roles, even once a husky vocal demands attention. That vocal is often of the standard black metal persuasion and will be the thing that divides most listeners, but the music remains absolutely terrific throughout, borrowing huge influences from 90s doom and classic black metal, fusing them into a progressive style that often lets the melodies shine through no matter how heavy things get. If, somehow, you think that sounds like a DIY take on ‘Ghost Reveries’ era Opeth, you wouldn’t especially be far wrong. In extreme metal terms, it’s about as fine as you’ll find.
With deep drums and more of a gothic metal guitar riff at play, chapter two sets about building a dark atmosphere from the outset. With every couple of bars it appears more intense, even though the volume never actually increases. Eventually, a huge doom riff cranks its way and the combination of slow, heavy music and scratchy vocal makes In Tenebriz appear like a Euro black metal band channelling Cathedral. Once more, the husk of a voice isn’t always the easiest to take in, but a combination of stomping rhythms, doom-oriented riffs and chilling keys result in some fine progressive metal. With a lead guitar break more concerned with cold, hard chopping sounds than the usual thousand notes a second shred, there’s something very ominous about this track – especially when it reaches a brief interlude that sounds like a black metal Mike Oldfield.
Although chapter three eventually carves out some of the most intense black metal on this release due to a multi-layered vocal that pares the previous dark husk with a second voice that’s an ugly hissing anger, the track never loses sight of the band’s more melodic interests. It’s intro is especially soundtrack-like, while a lengthy mid section introduces clean toned guitars (again, occasionally reminiscent of a low budget Oldfield), before exploding into more heavy electrics of the Opeth variety. The chosen vocal styles make this the weakest track, so it’s a little disappointing when such intrusive noises eventually makes their inevitable return. Luckily, a final instrumental passage – this time fusing black metal traditions with a touch of early 80s metal – offers a suitable climax. The best elements of that track swiftly return for chapter four, only played more slowly, so it’s best to assume that Kai is now experiencing a bit more than PG certificate “mild peril”. Digging deeper than its surface heaviness – which, again, will be off-putting to some – there are a lot of layers and attention to detail…and as before, In Tenebriz manage to be more interesting when teasing with cleaner sounds leaning towards the proggy. All that said, what gradually unfolds over these six minutes is a cut above your average black metal […and there’s a lot of that out there.]
Chapter five is little more than an interlude by In Tenebriz standards, throwing out a circular riff that at first opts for the cinematic, then a thrash metal influence, before finally ushering in a black metal coldness. Like all of the album’s best bits, the sound mix is strong enough to hear every layer at every turn, so the biggest appeal ultimately comes from hearing a cold keyboard piercing its way through the wall of sound that’s been gradually built around it.
At this point, hopes are high for a great climax, but if anything, chapter six is less interesting – unless of course you came for a purer delve into doom metal with a black metal vocal. Heavy and intensive, the interplay between the dirgier rhythm guitar and harder shredding lead sound is always cool, but in terms of progression, it feels like a step back. Looking at it objectively, though, the muddier guitars have a real presence, but overall, there’s nothing within these five minutes to make In Tenebriz really stand out from the crowd. Luckily, the seventh and final chapter is superb. It begins with an absolutely beautiful ambient swirl where the keyboard sounds are cold, yet somehow still inviting, conjuring thoughts of floating in space. It’s like a modern sci-fi soundtrack inspired by a Tangerine Dream record from 1984. It has such an enveloping sound, it is almost disappointing when those ambient keys move aside for the track’s other aspects. With a slow build up, clean guitars play an equally wistful melody until a doomy riff and slow pounding drum take the weight. With an increased heaviness, the inevitable black metal voice arrives, but overall, this is more about the music – and with a great contrast between some very 90s sounding metallic riffery and a keyboard sound that almost seems oriental, there’s a hell of a lot to keep the listeners’ interest. Eventually fading away to leave a very brief cello sting, things seem to end somewhat abruptly, but if the album is viewed as a continual half-hour epic (as designed), it’s still a fantastic ending.
Overall, ‘Winternight Poetry’ takes a while to really get into, but if you can get past the vocal and just immerse yourself in the musical backdrops, in extreme metal terms, there’s so much here to like, especially if you’ve ever liked early Opeth. It’s a work of great contrast, forever shifting between traditional ambient sounds, through cold drone work, black ambient noise and back again, including moments that could be adapted for the symphonic metal crowd. It’s broad, bold and brave and for the more adventurous ear, most of it is also highly recommended.
http://www.realgonerocks.com/2018/11/in-tenebriz-winternight-poetry/
Screen.
https://antichristmagazine.com/review-in-tenebriz-winternight-poetry-symbol-of-domination-prod/
Если спросить у меня, какая сказка более всего запомнилась мне в детстве и по сей день кажется самой интересной, глубокой и поучительной, я, не задумываясь, назову “Снежную Королеву” датского отшельника Ганса Христиана Андерсена. А ведь там действительно есть весьма впечатляющие образы: царство вечного холода с миллиардами кристаллически-идеальных снежинок, злая, прекрасная и жестокая повелительница, разбитое на множество осколков зеркало, в котором служители тьмы хотели отразить Творца, любовь и преданность, наконец. В общем-то совершенно неудивительно, что атмосферный one-man-проект In Tenebriz решил посвятить именно этой истории свой новейший альбом, удивительно, как никто не догадался сделать этого до него!
Правда, в том, что касается музыкальной формы для аудиального воплощения андерсеновской классики проект позволил себе, как мне показалось, достаточно вольную интерпретацию, с головой окунувшись в достаточно грубый и варварский дарк-метал с несколько угловатыми очертаниями и такими же лириксами. Что ж, на то он и авторский подход, чтобы творить и воротить исключительно то, что хочется, да и не плохо всё на самом деле вышло – фирменный стиль In Tenebriz, который проект продвигает в общей сложности вот уже 13 лет, узнаётся, а воздушные клавишные, задумчивые мелодии и рваные риффы помогают лидеру состава Волфиру доносить свои идеи и мысли до ума внимающих ему слушателей более быстро, доходчиво и с большей очевидностью.
Отказавшись обращаться за помощью к сторонним вокалистам, все вокальные партии Волфир исполнил сам, изложив на великом и могучем историю Кая, “которому никто не помешал” сложить из ледяных осколков слово “Вечность” и остаться навеки в замке злой зимней владычицы. Лейбл сравнивает материал альбома с Katatonia, Paradise Lost, Draconian и Cemetary, и определённая доля истины в этом есть, хотя на самом деле “Winternight Poetry” звучит куда медленнее, абстрактнее и, как я уже говорил, как будто варварски, по-язычески или по-викинговски (мне так и видится, как Волфир в рогатом шлеме вдруг разочаровался во всём и вся, и стоя лунной ночью на корме своего драккара выплёвывает в черноту безнадёжные стенания о том, как хорошо и прекрасно было бы потеряться в бесконечных холлах ледяного замка.)
Местами пластинка звучит почти оккультно, отдалённо смахивая на какой-нибудь Septic Flesh (например, в третьем треке), а образ жестокого викинга Волфира приобретает черты некроманта-заклинателя. Музыкант очень уверенно обращается с думовыми мелодиями и тягучей дарк-атмосферой, эпизодически приправляя их блэковой яростью и пост-металлическими абстракциями – иными словами, со времён альбома “Autumn Constellation” очень мало что изменилось, разве что общий темп композиций оказался изрядно замедлен, процентное содержание блэка сильно уменьшилось, а вокал переместился из блэково-скримовых регистров в сторону криков-хрипов a la The Black League. По большому счёту ощущение от деятельности проекта у меня очень схожее с тем, что я испытывал, впервые познакомившись с “Ichor” авторства The Black League – нечто тяжёлое, экспериментальное, эклектично-экспериментальное и атмосферно-эмоциональное.
Не могу сказать, что тема альтернативной интерпретации “Снежной Королевы” на альбоме раскрыта, да и наивно было бы ждать от In Tenebriz скрупулёзности и внимания к деталям и нюансам сюжетного повествования, свойственных для Кинга Даймонда, скорее “Winternight Poetry” воспринимается как мрачная зимняя зарисовка (ага, как раз под стать стилизованным иллюстрациям в буклете авторства Paint-It-Black Design), выполненная стильно, качественно, с чувством, и чуть более зрело и солидно, чем “Autumn Constellation”, который тоже был весьма и весьма неплох. Не в текстах и не в риффах здесь дело, и вовсе не стоит ждать от рецензируемого компакта “зарифмованной мысли” – здесь правят бал исключительно чувства, настроения, а по сути – безоглядное ощущение холода, ночи и безбрежной зимней тишины.
http://astartaview.ru/in-tenebriz-winternight-poetry/
Non conoscevo il progetto In Tenebriz, one man band Russa che negli ultimi dodici anni ha dato in pasto alla scena numerosissime releases! E qui devo dire che, pur non conoscendo il progetto, son rimasto colpito da questo "Winternight Poetry".
Il doom/funeral/death ha influenzato notevolmente la scena Russa negli ultimi quindici o vent'anni e qui le influenze che arrivan proprio da quel mondo non più tanto sommerso, son davvero tante. A cavallo tra Despond, Intaglio, primi Reido, la mente e braccio di In Tenebriz, Wolfir, snocciola un pugno di brani in cui un sentore quasi burzumiano, che ricorda vagamente i Black Autumn, si mescola con i connotati doomish dei gruppi appena citati. Il risultato è interessante, mai monotono (a livello di riffing) e, nonostante ci sian alcune ingenuità a livello di composizioni, dovute alla produzione piú che alla musica in sé, il tutto mantiene alta la tensione e dai primi due brani si intravede chiaramente la direzione che l'opera intraprenderà.
Il lento incedere dei pezzi che compongono questo disco riesce a dar voce a movimenti pieni di atmosfera e sensazioni malinconiche degni dei migliori e tormentati Wraith Of The Ropes. Per quanto il progetto venga presentato come "atmo black ambient", c'è tanto di piú nel calderone e a livello di suoni e produzione questo LP non ha niente di black o quasi!
Le chitarre "pulite" a livello di registrazioni e non di distorsione o meno, il drumming campionato, le voci gracchianti ma non acide o sataniche, le parti ambient (che si trovano ovunque ormai e che non son una novità in ambito estremo per nessun sottogenere), fanno di "Winternight Poetry" una mosca bianca. Forse un lavoro di difficile connotazione, ma di totale apprezzabile intensità.
Una pecca notevole purtroppo è la scelta dei pattern a livello di tastiere/synth. Strumento fondamentale per la proposta del progetto, ma che alla lunga puó risultare monotono e prolisso con un mood dissociante che marca la ritmica con nenie orrorifiche.
Ci son brani che per idee spiccano sopra altri, ma che a livello complessivo si mischiano con il restante gioco di luci ed ombre dell'intero album. Il sesto capitolo di questo disco va citato senza ombra di dubbio per l'ulteriore influenza che i Bethelehem di "S.U.I.Z.I.D" han giocato in "Winternight Poetry", il resto è grasso che cola.
Un album da avere? Forse non necessario, ma che assolutamente mostra un progetto che per longevità e per la proposta in sè merita un occhio di riguardo. Non mi stupirei se prima o poi In Tenebriz divenisse un gruppo di punta dell'alternative black a livello mondiale. Provare per credere!
Данный релиз - один из немногих в дискографии проекта, в котором присутствуют вокал и лирика. В большинстве случаев детище музыканта и художника-оформителя Владимира Прокофьева разражается инструментальными работами, коих на момент написания этой рецензии уже и прибавиться успело. В руках же у нас полноценный альбом с текстами и даже голосом маэстро, отвечающего на записи абсолютно за все, что в каком-то смысле добавляет ценности In Tenebriz, поскольку здесь мы на 100% видим результат полета творческой мысли автора без каких-либо посредников. Если вы знакомы с музыкой проекта, то и новый релиз долго описывать не придется. "Winternight Poetry" - это мрачный, монотонный, но мелодичный альбом, тяготеющий к музыкальному звукоподражанию природной стихии, а именно, зимней ночи, которая может быть неистовой, а может и неподвижной, и разной, и не меняющейся одновременно. Все это реализовано в музыке с поправкой на тяжелый стиль. Зимняя тема не раз уже поднималась на релизах In Tenebriz, так что удивлять здесь никого никто и не собирался. Фишкой альбома я бы назвал короткие мелодии, которые как белые нитки пронизывают каждая свою композицию - они не меняются на протяжении всего трека, разве что замолкают на какое-то время, и гипнотически капают на мозг. Подобное я уже слышал когда-то в одном из самых продолжительных треков альбома "Filosofem" от господина Викернеса - короткий мотив, не смолкающий на протяжении многих и многих минут. В отличие от Burzum, In Tenebriz звучат, может, и не так "трушно", но по-своему интересно и с душой, без стилистических перегибов и всевозможных излишеств. Только ритм, мелодии, стихи и атмосфера зимней ночи. Альбом достаточно короткий, не дотягивает и до 40 минут, но меланхоличная монотонность порождает к заключительному треку ощущение, что слушаешь In Tenebriz уже час, а то и больше. Соответственно, это сужает круг тех, кому можно порекомендовать "Winternight Poetry", зато более четко обрисовывает картину без вранья и утаек - если вы никогда часами не смотрели в окно, наблюдая за зимней стужей, вы эту работу не поймете. Да и чего, собственно, стоит ожидать от атмосферного стихочтения под соответствующую экстремальную музыку, идеально ложащуюся под текст, словно снег на поля и холмы? Любителям всяких October Tide и прочей медленной, но не похоронной музыки, а также дарк-метала с претензией на мелодичный дум-дэт это точно должно понравиться. Во всяком случае, человек во главе всего этого великолепия очень старался, что и видно, и слышно.
http://headbanger.ru/reviews/album-4633
Vladimir ‘Wolfir’ Prokofiev is a very productive designer and musician. As visual artwork artist, he did create the cover paintings for tens of bands / albums (which I am going to list up), and as musician he worked under different pseudonyms before. But his most active outfit surely is In Tenebriz, which he started in 2005. Throughout the years, In Tenebriz recorded and released more than ten full lengths, many EP and several split-releases, especially during the first half of this decade.
His latest-but-one release (in Autumn 2018 he self-released the digital album Winged) was Winternight Poetry, initially released independently via his Bandcamp page. The seven tracks were written and composed in 2017 by the sole member, Russia’s Wolfir, who took care of the (beautiful) artwork too. Shortly after the digital release, 500 physical copies were made (with an eight-page booklet, which includes the lyrics, in his mother tongue, dealing with melancholy, winter, the loss of hope and loneliness), eventually released in a partnership of Symbol Of Domination Productions and More Hate Productions.
The conceptual album has a total running time of almost forty minutes, and brings a slow-paced, floating and transcendental form of Atmospheric Black Metal with an astral approach. The melodic songs are strongly carried by the strings, with duelling tremolo leads and intriguing solos as core. The guitar play is a basic yet essential element to define both this project in general, as well as the album more specifically. But that has nothing to do with the sound quality, for this one pays attention to every single instrumental aspect; but I will come back to this later. As said, the better part is slow-paced, dooming around the whole of the time, which strengthens the dejected attitude. Once in a while, the tempo accelerates, but even then, it is just a mid-tempo-oriented speed that shows up. Not the guitar parts alone characterise this album. Remarkable too are the synths with that specific approach, that specific sound, reminding me a lot of, for example, Lustre and the likes. Half of the time, those xylophone-alike keys are supporting the guitar leads at the background, and many times they play the head-role within this audible motion picture. A third important player is this: the vocals. These ones are grim, deep and undulate. And last but not least, my respect for the whole rhythm section, the total background support. Whether it deals with the mesmerizing synth lines, heavy rhythm guitars, pounding basses or battling drums, this rhythm support is of undeniable importance for the total structure, the covering-as-a-whole of this aural experience. And it is not purely ‘in support of’. Tribal percussion, semi-acoustic intermezzi, and so on; there are various additional elements that put their mark on this sonic drama.
The production is of a high level. As mentioned, there are a lot of individual (yet cohesive) instrumental / vocal aspects. But since the equilibrium shows a magnificent mix at the end, all ingredients are of equally-balanced importance. This goes for the acoustic fragments as well as the heavier excerpts, and everything in between. The result is clean and decent, without any form of exaggerated over-production (luckily!), and lacking any irritating background noises. Okay, little more roughness could have intensified the heaviness and the obscurity, but it did not turn out into some poppy result. Fine!
Recommended if you can appreciate stuff à la Lustre, Nebula Orionis, Frozen Oceans, Chiral, Eldamar, Grimirg, Astarot and the likes…
http://www.concreteweb.be/reviews/tenebriz
Ambient Black/Doom Metal проект из Москвы. Начали готовить алхимическое варево с 2005 года. Насчитал 11 полноформатов, а меж ними помельче чертобесики - типа эпишек и сплитов.
Парадоксально. Обложка у меня давно мелькала пред глазами, в вк и далее, включать музыку я не включал. Но видимо какое-то подсознательное впечатление сложилось. Образы: полумесяц, на нем сидит длинноволосое дитя ночи в чем мама родила. Ну я внутренне и решил, что это, вероятно, готик-металл. И потому даже сначала не врубился, - когда включил компакт. Ибо играет мощный дум-блэк, мрачный, эпический, морозный, атмосферно развернутый, но все такой же темный, как полярная ночь. Очень серьезный материал - прямо таки апостольский и явно раскрывающий глаза на жанр тем, кто не в курсе. Сам не слышал ранее творений проекта, и тем интереснее почерпнуть из этого источника.
И опять вернулся к началу. Москва? Какая Москва? Это наверное какое-то сибирское укрывище, или нечто за полярным кругом, Кольский полуостров с сейдами (объектами поклонения северных народов). Не зря я про сейды упомянул. Ибо в этом диске накружено-наколоворочено немало холодной нордической магии — волшбы. Там ведь еще привинчен тэг #эмбиент. Есть такое. Но это все умело сварено (см. выше) в одной немалой реторте и выведено по дистилляционным трубкам в иной сосуд, дабы собрать спиритус - духов, обитающих в местах заповеданных. Полный мистикум.
Теперь я понимаю, что 11 дисков + эпишки и синглы это далеко не предел.
К тому времени, когда я прослушал почти половину диска, я уже понял, что автор-композер использует особый вид клавишей, в смысле по их положению в саунд-картине, - немного как у Викернеса, на диске Hli?skjalf, - клавиши так и бреющие над музыкальным полотном. Но дело не в том, что как у Буржум, а в том, что эти клавиши здесь играют роль смертельно-черно-иззубренной коcы, которая пролетает над аудиторией и сносит все лишнее.
Полистав архивы, я заметил, что часть работ In Tenebriz – инструментальные. Но мне-то повезло, - и этот компакт с вокалом автора-композитора Wolfir. Я люблю, когда с вокалом, особенно таким, как у этого исполнителя — мракобесный, угрожающий и индифферентный. Хорошее дополнение к музыкальному действу, словно приготовленному для такового голосового аппарата.
Да, это блэк-дум, только произведенный по канонам блэка, то есть без стандарта и регламента, а по максимуму мизантропии. На всякий случай композер не дал ни одного названия для семи темнейших трэков, это очень предусмотрительно в свете (во тьме) их содержания.
Можно ли что-то выделить в жутком монолите этого диска? В принципе, не нужно. Но не откажу себе в удовольствии обмолвиться о траке 6.
Трагический риффинг рвет стылую и мерзлую землю сибирской декабрьской колеи под траком танковой гусеницы. Угрюмые струнные подчеркивают безнадегу горизонта, и парнЫе клавиши сразу падают инеем под кованные сапоги. Ритм-секция изнемогает под тяжестью поэзии зимней ночи. Тем не менне разгоняясь иногда до состояния - «чуть быстрее». И прямо жуть берет — сейчас от натуги все рванет. После середины минималистические клавиши еще подкладывают мороза в наш и так остывающий термометр.
Финализировать хотелось бы словами Светония - «Oderint, dum metuant». Что означает «Пусть ненавидят, лишь бы боялись».
Буклет на 8 страниц оформлен блистательным дизайн-агентством Paint in Black.
Includes OBI. Includes Pit-Art CD.
PS Хорошо, что когда я писал отклик, я кой-чего не знал.А именно, кто скрывается под псевдонимом Wolfir.
https://vk.com/wall216331265_3549
Nonostante lo scarso appeal suscitato da un genere che poco si addice alla massa, il black metal è più vivo che mai.
Lo dimostrano non solo le release delle band più note e affermate ma anche il fatto che di black se ne produca ovunque, senza preclusioni geografiche. Ecco allora che la collaborazione tra la Satanath Records e la More Hate Productions ci permette di ascoltare gli In Tenebriz, un one man project direttamente dalla Repubblica Russa, sicuramente una location che ben si presta a certe sonorità ed immagini evocate.
Dovendo classificare l’opera, ci troviamo di fronte a un sottofondo puramente black old school, su cui si innestano altre sonorità, a volte più vicine al doom e a volte al death metal. Nei 7 brani che compongono questo lavoro, la chitarra forma un muro sonoro arcigno e compatto su cui si accumulano strati e strati di sintetizzatore. Questo ovvio richiamo ci riporta alle sonorità del buon vecchio Burzum, a testimoniare l’assoluta adesione ai dettami più duri e puri del genere. L’impatto con l’opera è poco amichevole e spiazzante ma si ammorbidisce ad ogni ascolto e ci lascia col desiderio di confrontarci quanto prima con altro materiale di Wolfir.
No salgo de mi sorpresa y asombro de ver la descomunal actividad que ha tenido este unipersonal. Wolfir, seudónimo del cerebro detrás de In Tenebriz, desde el 2005 a esta parte ha editado más de 25 trabajos discográficos entre LPs, EPs, splits y otros formatos.
Adentrándonos ya, “Winternight Poetry” es un álbum conceptual dividido en varios capítulos, donde las lentas y atmosféricas melodías transcurren fluidas y coherentes durante los casi cuarenta minutos que dura el álbum.
In Tenebriz inventa su propia mezcla de black metal atmosférico con un discreto enfoque doom que también incorpora con buen gusto teclados para un fondo sombrío y helado.
La primer banda que se me viene a la cabeza para referenciar a este “Winternight poetry” es Tiamat, aunque In Tenebriz suena más siniestro y grotesco, a pesar de sus ritmos más tranquilos y serenos, lo que nos ubica en el sonido de aquel ya lejano “Orchid”, de los suecos Opeth.
En síntesis, “Winternight Poetry” es un trabajo lúcido, intenso y vibrante, dando una sensación casi cinematográfica a lo largo de su escucha. Recomendado.
http://rockarollazine.blogspot.com/2019/08/in-tenebriz-winternight-poetry-2018.html
We haven’t really had a great winter down here in the south of Sweden for years now. We usually get what is commonly known as a Skånsk winter, rain and wind and plus degrees. Whenever I see snow, I get a bit nostalgic. And it doesn’t really help when an album like this comes my way. Although it is mid-May now I get a wintry feeling from this atmospheric black metal band. This is melancholic and somber in the way that I like it. This came as a nice surprise.
http://battlehelm.com/reviews/in-tenebriz-winternight-poetry/
Em 2018 o In Tenebriz lançou um de seus álbuns mais criativos, o ótimo "Winternight Poetry", um registro impecável para a sua vertente.
Os temas levam somente o nome do álbum com a nomenclatura em algarismo romano a frente, sugerindo assim uma grata surpresa e andamento contínuo, bem como a temática.
Sua arte é uma das mais belas da discografia da banda, unindo os conceitos as faixas e aos climas adotados aqui.
Sua produção é ótima, os climas atmosféricos e brutais geram uma verdadeira "viagem mental".
Não deixe de conferir por completo, seus temas densos são ótimos e deverão agradar fãs de Doom Metal á Death Metal.
http://rockvibrationsofficial.blogspot.com/2020/07/in-tenebriz-winternight-poetry-review.html
Venäläinen sooloprojekti In Tenebriz on tykitellyt menemään reippaalla tahdilla vuodesta 2005 lähtien. Kokopitkiä levyjä on viidentoista vuoden aikana ilmestynyt 12 ja näiden päälle reilusti toinen mokoma erilaisia pienjulkaisuja. Tyylilajia on luonnehdittu blackin ja doomin sekoitukseksi, ja tavallaan se pitää kutinsa myös yhdeksännen levyn, Winternight Poetry -kokopitkän kohdalla.
Vajaat 40-minuuttinen levy koostuu seitsemästä samalla nimellä paiskatusta raidasta, joille kaikille yhteistä on venäjänkielinen sanoitus. Ratkaisu on hieman outo, kun otetaan huomioon, että kappaleet ja levy on nimetty englanniksi. Ehkä tämä on sitä kuuluisaa venäläistä erikoislaatuisuutta.
Hitaalla tempolla kuljetetut kappaleet nojaavat koskettimiin ja niiden kanssa soljuviin yksinkertaisiin riffeihin ja molempien kanssa kuultaviin ärinälauluihin. Tunnelma on usein synkkä ja toisinaan taas surumielinen.
Avaruudelliset koskettimet tuovat mieleen monesti Burzumin synailulevyt tai metallilevyjen tunnelmapalat. Yhtymäkohdat jäävät kuitenkin siihen, sillä In Tenebriz kulkee selvästi doomahtavimmissa maisemissa.
Kitarointi ei ole kaksista ja tuntuu usein koskettimille alisteiselta. Ratkaisu korostaa levyn synapainotteisuutta ja loitontaa levyä metallista. Ärinälaulut tuntuvat olevan mukana lähinnä pakollisena pahana. Niitä on vaikea vihata tai kehua.
Soundeiltaan kotikutoinen Winternight Poetry on lajissaan vaivatonta kuultavaa, mikä toisaalta tekee levystä myös äärimmäisen helposti unohdettavan mitäänsanomattomuuden. Ihan kivasti taustalla soljuva doom/black-hybridi ei lopulta sen enempää ärsytä kuin ihastutakaan.
https://www.impe.fi/reviews/1/21284
Video review.
https://www.youtube.com/watch?v=163r8fbtfKg