Compilation of the previously released "Rasluka Part I" and "Part II" on one CD. Track 8 not mentioned on release.
This album is a fitting prelude to the infamous Rasluka II, with a beginning single minded march, morphing into a frustrated, almost separated from reality by force, anger and despondance, as opposed to the pagan spirituality of Rasluka II, which seems naturally derived from this seeming more human, hateful effort, and in stark contrast to the desolate, despondant, depressed, and decrepit spirituality of Geliebte Des Regens.
The album's production, like Rasluka II, is similar to Geliebte Des Regens, but with a more open space in which the tones present themselves. The guitars are more overpowered by the vocals, which are presented in the atmosphere of hatred, as opposed to the more resigned vocals of yore.
The album's namesake is a long, angered evocation of the Trauermarsch (Dream March?) intro. The song creates a detour from the main idea, then returns with vigour. The lead guitar follows the rhythm in a depressed, forced, march. Ideas morph from there, creating a rushed sense of accomplishment and chugging riffs move these ideas around. The evilness and danger evolves into a spiritual anger, rising above the harshness of the flesh, and becomes less toxic and more inviting. Overall, the journey completes itself when the ideas become deviod of the initial evil created by the forced march of the beginning, almost rising above it. Ideas from the second are echoed (Or is it the from the first to the second?) and repeat themselves in more immediate form.
Overall, this EP is great for the listening when one is feeling tired of the boring, the mundane, and the vain attempts to outglitz; this album is a singular effort at a prelude to a spiritual evocation. However, this album lacks the really intense, draining emotion of Geliebte Des Regens, and is more harsh on the ears.
This really is the most stunning EP I have ever heard from a black metal band. The vocals are terrifically evil, and the riffs are a typical tremelo black metal affair, but they somehow contain a depressing melody. Suicidal, in fact.
Saying that, they are still thick and dirty, as they should be. Also, the riffs don't change much in the songs, sticking to three or four for an entire song. The drums, while incredibly simple, are also very effective. The bass is barely ever heard above the masses of riffing, but when it is, it's pretty much typical for the genre, nothing spectacular.
But, I hear you ask 'What is so great about this?' Well, first of all, the songs. They feel like they mean so much to listener, and to Kanwulf himself (this is, of course excluding the intro, which is only a flute song, but is still touching in its own special way). The way Kanwulf performs his vocals, you can feel his anger, hatred and misanthropic ways seething through into you, hoping to take you down into the depths of depravity.
Then there's the killer track, 'Abschiedsbrief Des Prometheus'. Which has killer riffs and movements throughout the entire song. Topped off with the filthy hateful vocals, it seeks you out, and hopes to drive you to suicide by the end of the seven minutes. And, that's rather apt really, seeing as the title roughly translates to 'Suicide Letter of Prometheus'.
The last track starts with an interesting news soundclips, about Bon Scott's death, but yet the song doesn't relate at all, and is in fact about the free will of a black unicorn. A fitting tribute for one of Kanwulf's idols? Maybe. We may never find out.
Sample: youtube.com/watch?v=w43qKpSJTtA
