DOWNFALL OF GAIA
Silhouettes of Disgust
2023, Metal Blade
DOWNFALL OF GAIA play post-Black Metal, just to get that out of the way immediately. It does not sound like 1995, and never has. Now, if you are anything like me, the mythos of corpse paint and all that goes with it lost appeal long ago, by and large, and the musiscape changed a whole lot. With that said, do I still love the classics? Of course I do and listen to them regularly. But when confronted with some form or other of raw black metal in the true ancient ways (or whatever angle is being used), I generally turn away. DOWNFALL OF GAIA have, on their newest opus Silhouettes of Disgust somehow harnessed some of the old and cold and made it colder, while expanding their particular sonic palette in ways that are intriguing and confounding at once. And the corpse paint is left alone. Post. Black Metal.
For those unfamiliar with the band, please fix that, because DOWNFALL OF GAIA ought to be one of your favourite bands. I know, I say that a lot, but I try to take on projects for review that I personally believe in - selfishly. I want you to like this band, or that band. Album six shows the German quartet at their most obtuse and also most vulnerable, production like a cryogenic chamber, allowing the lush instrumentation on display to crackle and snap synapses as it hurtles into oblivion. Lead of track “Existence of Awe” is awesomely titled and is a great synergy between the new and old schools, firmly taking Black Metal scaffolding to stand on, but painting a mosaic using its skeleton to stand on. It’s beautiful, and oh so cold. Again, the production here gives no quarter and has all quarrel, good sirs.
“Bodies As Driftwood” is the first proper single from the album, if my memory serves me, and in uncharacteristic fashion does not arrive until the album is nearly over. It is a monument, though, tall enough of stature to block the sun and choke the light and any hope you may hold.
There are layers to uncover on Silhouettes of Disgust, as the follow up track “Eyes to Burning Skies” begins with gentle chords and the seductive siren of female vocals, inviting the listener ever deeper into the chasm of self reflection. Or at least that’s how it hits me. The instrumentals here are lush and evocative, sprawling and spreading like pollen in spring time. It is a slow burn of a tune in comparison to the rest of the album but does not at all make for what one may refer to as easy listening. Don’t fret - the jarring is coming. It’s been coming for a while.
I dunno how, but “Final Vows” stomps (insofar as DOWNFALL OF GAIA ever stomps, at least) and is actually nearly painful in its immediately visceral output. Finely placed cymbal tings don’t hurt *well they do but anyway* and the whole song is an absolute catastrophe in the best of ways.
On the whole, Silhouettes of Disgust is a dense and difficult subject to grapple with. When it is beautiful, I’m sure birds are singing. They’re probably vultures, waiting to feast on the carrion left behind for when the album is devastating. And these feelings do not compete - truly they take turns with the listener. If you’re looking for one of the very best post Black Metal albums of 2023, you have found it. Cheers to DOWNFALL OF GAIA for having crafted such an immense and immersive experience.
The other post Black Metal album is To Know The Light by DAWN RAY’D in case anyone wonders. There are no other post Black Metal albums that will matter this year. Now, someone put them on a tour together.
4.0 Out Of 5.0
