This inaugural release for the Chicago-based FSS label is some of the ripest and juiciest experimental black metal to be released this year. Wrnlrd raises a staff of high frequency fuzz graininess, and aims its assault sorcery at all who might attempt to lay claim to the throne of progressive dark music.
Oneiromantical War blasts in and swells with a classic black metal feel and a groove that barely punctures the surface of the wall of sound that is to last a majority of the next forty minutes. Free form scream and growl vocalizations emerge from the mix depending on where attention is at any given time. About a minute in I realize there will be more than enough to distract me on this dismal and desperate journey. “Silent Command” continues with a synth-choir aah preset interlude which is quickly plowed over by a drunken and stuttering metal core breakdown. The entire arrangement of the song mathematically flexes and breathes with itself. For more than a few moments I'm left alone with the static, reeling.
The centerpiece of this record is the 20 minute epic “War,” which begins with low detuned acoustic plucking. The music takes on a very woozy and narcotic feeling and relaxes the listener just enough to effectively stomp into another broken black metal groove. Half way through “War” turns ambient and expressive, showcasing undeinable ability at tying tracks together with simultaneiously soft and disturbing interludes. The ambience on this release is far more than accents that serve well their purpose. Without fail, the tune slowly regains its metal vigour over the remainder of the track.
Oneiromantical War is terribly impressive because of its ability to be totally brutal but retain a certain psychedelicism throughout. To say the ebb and flow of any of one its songs is stirring would be and understatement. “Breath of Doors” is both as stoned, sludgy and triumphant as the album gets at the start. Quickly enough the battle-cry stutters and releases; it then patiently builds to critical mass along a straight head-banging groove.
“Grave Gown” caps the record off with a suicidal black metal wash that is deceptively intricate. As with most of my favorite music, different and particularly deep buried layers become more and less apparent depending on where and what I was listening to the record on. FSS has released this digitally and on vinyl. That this entire record has this intricate and easily effected quality makes it unfortunate I was not able to contrast the sound of the digital release to its vinyl counterpart.
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