Coming this June from Temple Of Torturous is Zeitzeuge, the latest long player from blackened doom-bringers, TOTAL NEGATION. Led by the deranged sonic conjurings of chief sound manipulator Wiedergaenger, Zeitzeuge marks the third full-length from a project made of dismal tones and deranged German storytelling.Cold, depressive and atmospherically corrosive, withZeitzeuge TOTAL NEGTATION merges the principals of primeval black metal, doom and Krautrock into a sound that’s lush, confounding, and harrowingly apocalyptic.
In an early impression of the record, Cosmos Gaming expounds, “Zeitzeuge is built upon mid-tempo and fast paced black metal mixed with slower doomier riffs, over which sprawling melodies are placed. It’s the type of sound that immediately grabs your attention, as the icy waves of black metal and density of doom are intact but the melodic leads don’t necessarily fall into that stereotypical ‘atmospheric’ sound. Instead, there’s a murkier psychedelic feel to many of the leads, and that’s just from the guitars. Once the vibraphone takes over on some of the later tracks the textures continue to expand outwards and TOTAL NEGATION has a sound that’s melancholic, introspective, and otherworldly all in the course of the same song.”
In celebration of its impending release, today Decibel Magazine reveals the haunting eight-plus minute visual companion to fourth movement “Kronzeuge.” A disturbing, mostly black and white audiovisual merging vintage photographs of the dead, wooded pastures and a general sense of dread, “Kronzeuge” is a representation of TOTAL NEGATION at their most cheerless.
And if you aren’t sufficiently traumatized, sample “Fluechtling,” still streaming at No Clean Singing at THIS LOCATION.
The follow-up to 2013’s critically-adored Zur Späten Stunde | Zeiträume, Zeitzeuge relays the story of a contemporary witness, who breaks under the pressure of controlling the life and death of others.With the integration of instruments like the melodica and the vibraphone still intact, the record
“…a dark and disturbing story full of changing moods reflected in changes of pace and intensity. A mid-paced rocker at the start, it becomes brooding and eerie, with a spacious interlude pierced with twisted feedback, flickering noises, and the strumming of an acoustic guitar. As the song continues to unfold, bursts of double-bass and blast-beats join with whipping tremolo chords, rhythmic bass lines bound along beneath the reverberation of discordant guitars, and hand drums make an appearance as the song reaches its hallucinatory finale.” – No Clean Singing on “Fluechtling.”
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