{"id":117727,"date":"2023-05-09T11:00:35","date_gmt":"2023-05-09T16:00:35","guid":{"rendered":"https:\/\/toiletovhell.com\/?p=117727"},"modified":"2023-05-09T10:32:39","modified_gmt":"2023-05-09T15:32:39","slug":"review-clarion-knell-abyss-of-fear","status":"publish","type":"post","link":"https:\/\/toiletovhell.com\/review-clarion-knell-abyss-of-fear\/","title":{"rendered":"Review: Clarion Knell<\/b> – Abyss Of Fear<\/i>"},"content":{"rendered":"
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Can you hear the clarion call? It’s calling out to one and all.<\/p>\n

(This review was written by Aaron<\/strong>)<\/p>\n

A war trumpet sounding solemn, shrill finality. France’s Clarion Knell<\/em>‘s one-man brand of blistering, rollicking black metal implicitly asks how much black metal re-treads context, re-treads aesthetics? In adhering to traditional forms, to what extent can black metal provide unique experiences, unique commentary, unique challenges?<\/p>\n

The project comes courtesy of burgeoning label Syrup Moose<\/strong>, a label whose outwardly anti-fascist stance contextualizes their releases in both aesthetics and message. Beyond the quality of their output\u2014an eclectic line-up that boasts two ridiculously good records this year alone in the form of instrumental powerhouse Arklay Mountains<\/strong> and anthemic punks American Goner\u2014<\/strong>their committal to being an \u201canti-sketch label with communist overtones\u201d gives the ferocity of Abyss Of Fea<\/em>r an immediate analytic framing that a lot of other black metal bands operating in the same vein lack.<\/p>\n

“Enlightenment” sets the pace with prominent fingerstyle basslines emphasizing the mid-paced riffing of the guitars, like a military march. It\u2019s a track that introduces Abyss Of Fear<\/em> as a record that\u2019s warmer in production than the viciousness of its content might imply. Through the hoarse vocals and sharp instrumentation, something oddly triumphant bleeds through, something that evokes both militaristic machismo and war propaganda. Following a track with subtle melodic flair, it dissipates into nothingness, fading out with a sinister progression\u2014something knowing and powerful, satisfied with its works.<\/p>\n

“The Great Dimmers” is delivered with raspier, reverb-soaked vocals, and is more dynamic in composition. Following the 2-minute mark, a bridge containing some intensely ugly, nasty riffing is accented by galloping bass\u2014images of champing horses clashing with modern weaponry, suitable for such temporally warped music. A tension-building key-change temporarily uproots the track, leaving you on edge; it\u2019s another track that ends without rounding out its edges, without a cohesive resolution. It arrives violently and leaves quickly, like a bloody skirmish.<\/p>\n