To Anabainon Ek Tes Abyssu
Abyssic darkness with sharp trilling riffs and an oppressive cloud of dense guitar noise. That is torment you are confronted with as you begin to ingest the debut album from Colorado's Bestia Arcana. The first track, Cup Of Babylon washes over you like a wave of sound, blasting drums and smothering riffs. The vocals are washed out and really only separate themselves during the slow, noxious middle of the song. The transition between that track and The Poison of Mannaseh is seamless. The blinding speed and constant slow shift of the guitars and undercurrent of synth appears to be unrelenting. A low, murmuring noise positions your mind to be devoured by the abyss as The Pit of Sheh-Ohl begins. Horrific rasps rise from the nebulous soundscapes. The voices continue to echo from the void before another wave of deep space guitar drone drifts in on Feverwind. The song is so slow and monotonous, but the guitars buzz and vibrate like synth on Neptune Towers and giant clouds of synth cast ominous shadows upon the song. The fifth and final track on the album is Shepherd of Perdition. More sharp trilling guitar and rolling drum lines accompany those low, beastly vocals as all of them extinguish life from the earth like the blast of a pulsar. Cavernous synth and hollow tones break the destructive tempos of the song's main body but at times I wonder if the music and the drums aren't even related as they seem to follow their own paths, both of which lead to annihilation. Bestia Arcana's music is poisonous and suffocating. The evil darkness of the void is inescapable as you are consumed by the music of this album. The album summons visions in my head as if deep space was actually possessed of malicious intent. This is an album to contemplate when far removed from the light.