...Majestic Thou in Ruin

I grew up in the UK, so my impressions of Green Bay (Wisconsin) boil down to one thing. The story behind the city's fan-owned, non-profit major league sports team has worldwide appeal. The entire population of the city can fit inside Lambeau Field, with seats to spare. This is a strange situation that has no parallel in my country, or maybe anywhere in the world. I’ve otherwise assumed that Green Bay is a cold, hard, semi-industrial place with a surrounding hinterland of agriculture, lakes and coniferous forest. I don’t know how accurate that description is, but it sounds like the ideal location for obscure, transcendent death/doom (see also: Halifax, Yorkshire).

For the second time, Dusk took advantage of the incredible recording facilities available on their doorstep (i.e., Simple Studios). The producer, Eric Thielen, has only ever recorded a handful of metal bands, but he struck gold with Dusk. This album ("...Majestic Thou in Ruin") sounds even better than the self-titled EP from the previous year. Everything is crisp and sharp. The bass and the drums are massive. The vocals are malicious. The riffs are swaggering and thuggish. There is plenty of space for each instrument, and this 'open' sound means that each musician can enter the fray and dominate at will. There is no fuzz. No-one can hide, but the band were talented and methodical enough for this to be an asset. The high-fidelity recording quality is best experienced at high volume, with lots of bass.

This album shows an evolution from the "Dusk" EP. The ties with old school American death metal have weakened. The blast-beats have been removed and there are none of those awkward riff transitions. This is where Dusk completed their development into full-blown death/doom. There may be hints of Midwestern death metal (e.g., Morta Skuld and Cianide), but only in the band’s predilection for heavyweight chugging. The four songs are far more ambitious than anything the band had done previously. Each lasts around eight or nine minutes. The riffs have been elongated to eek out every ounce of heaviness from each chug. Many of these riffs feel both poetic and threatening. They stalk the listener, swinging from side to side like the aural equivalent of a cage fighter in slow-motion.

Released in 1995, "...Majestic Thou in Ruin" represents the convergence of different sub-types of death/doom. The early My Dying Bride influence reverberates through the massive, punishing riffs and relentless double-kick. The melancholy of that band has been replaced by a ritualistic, hypnotic feel. This brings the first two Unholy albums to mind. There is also the outright extremity of Disembowelment too. Dusk threaded similar ambient 'world music' effects into their sound. This album is more forward-thinking and essential than other death/doom records from the time. Compare it to the retrograde nature of "Amid Its Hallowed Mirth" by Novembers Doom, or to the diluted pomp of "The Angel and the Dark River". Dusk were the death doom band of that particular year.

"Paled" is my personal favourite of the four songs. This is among the heaviest things I've ever heard. At times it is threatening and barbaric, at others ethereal and majestic. I love the drum fills in this one. Everything has a loose, powerful but inevitable feel. As the listener, you have time to predict the destination of each beat before it lands. This adds to the intensity and the dread. The final song, "The Transfiguration (And It Was So)", may be even more impressive. The haunting female-vocal section at the end would not sound out of place on an Amber Asylum record. It is the perfect finale to this superb album. It is cast-iron proof that these guys had realised their vision, and that they were eternally relevant in the wider world of extreme metal. This is as good as it gets.

Depression, sadness, agony, and even the ultimate individualistic act of suicide are part of the spectrum of human experience. But unlike the more positive and vital shades of feeling, these states of being all have a more defined aura of mysticism and mysteriousness surrounding them. Within these deep dark states, the human psyche can produce some of the most beautiful and magical acts of art. Extreme music is known for its anger and intensity and is also known for its moments of excess; be it through the continual drive to push the limits or its own nature of alienation. But death-doom metal is the sub-sub-genre of heavy metal that most plainly deals with negative emotions in a way that can surpass the drama and romance of gothic metal, the isolated chamber confessions of depressive/suicidal black metal and the theatrics of classic doom metal and conducts from an unadorned stage of nihilism and minimalism. It does however possibly meet its match in funeral doom, as they are very similar when conducted with restraint. One of the great lost American death-doom groups is Dusk. They released a demo, an EP, a full length and a split during their existence (1993-1998), All of it is quality work (look for the "Mourning…Resurrect" compilation, it includes the Dusk EP and this LP) but the full length Majestic Thou In Ruin is a very special record that reaches lofty heights in a short period.

Like many extremely promising underground acts, Dusk fell before its time. The members went to on to form Aphotic, which was a bit less ‘direct’ in nature, but still fascinating and gorgeous. And then, that group ceased to be as well. A fate perhaps more depressing than the music they loved and played. Alas, the catch-22 here is that an unknown group retains its cult status but has less of a chance of surviving than a bigger name group. And fans of unknown music usually have an issue with that. Is there a solution? Perhaps. The internet age has allowed for a file sharing method reminiscent of the tape trading scene of the analog days. And the idea that old and unknown bands now can see the light of day. Some of them even reform and put out albums! Perhaps there is hope for this act to come back together and release a comeback EP or LP. In that way, the group can build a somewhat larger following while maintaining its status as an ‘unknown group.’ I digress…

Over the course of Majestic’s four songs and half hour runtime, the listener is brought into a world of bleak dismay and impending dreadful fate. It is only appropriate that the title track opens with the sound of nature and birds (the cover art provides a sepia nostalgia for visuals), which are blotted out by the sound of horrifically deformed guitars slugging forward not soon after. This method is repeated on ‘Paled,’ which then flows into a stark melodic phrasing that leads again into the guitars. The guitar tone in both incarnations are great; the distorted one has that ‘so distorted its empty’ sound,’ and the tight picked clear one leans forward over the haze of the production. The guitars are somewhat subdued and pushed back in the mix, while the drums and other effects are allowed to come forward. It is a risky move that moves the atmosphere a bit closer to funeral doom, but the guitars have enough clearness (the almighty chugging!) to keep the death metal influence clear. The crushing attack of the six string is illustrative of how far the natural sound of the acoustic guitar has been pushed since it was electrified all those years ago. Metal turned such a somewhat passive and melodic instrument into the equivalent of getting a rock smashed against your head in sync with a rhythm section that aims to do the same. And the drums and bass really deliver here as well, in a similar simple and punishing fashion. The addition of restrained keyboards also adds a depth of isolation and drama that pushes the album into even more devastating territory. The keys are especially well executed in ‘Thy Bitter Woe,’ which reminds a great deal of the keys used in Incantation’s ‘Onward to Golgotha’ track ‘Christening the Afterbirth.’ So much so that it’s striking.

All the talk about what band sounds like what and what genre they belong to might be irrelevant to those looking for good listening material, but metal is very concerned with definitions. But this album really is an excellent example of what this subgenre is capable of, and that fact did and does raise the bar for those seeking to create music of this type. The record is extremely accessible musically, but its atmosphere will leave an imprint on the consciousness long after the final notes. The effect is almost at the level of Disembowelment, which is one of the author’s favorite groups.

‘The Transfiguration (And it Was So)’ is perhaps the most devastating and haunting track of the work, as its follows the template of its brethren, but then includes a ambient break accompanied by female vocals. While this may sound more characteristic of the aforementioned gothic metal groups, but is of a much more restrained and dramatic manner because it goes unaccompanied. All in all, a very beautiful and chilling couple of minutes to spend alone.

The lyrics on display here are quite beautiful, which is to be expected in this genre. Comparisons to Celtic Frost are sure to arise, but these words are certainly the progeny of Tom Warrior’s brilliant esoteric poetry. Death-doom’s lyrical punctuation and structure is rooted in those same very short phrases, often less than six words. They draw out the shear slowness and sullen nature of the music. The writing is economical and concise, yet can still express great eloquence and emotion. The adorned nature of the lyrical expression matches the minimal nature of the actual music. Each phrase is suffered and struggled through by vocalist and bassist Steve Crane. In addition, his use of echoing clean vocals in a half spoken half sung manner is typical of many more melodic doom-death groups, and the technique is employed well here. It’s practical and aesthetic effect both provide a foil for the more primitive aspects of the recording, while also acting as bookmark for meaning and importance.

An excerpt from ‘Paled’ reads as such:

A shoreline haven succumbed
To mirage
Inevitable embrace within our weakened
Arms shan't we view
Our fallen oaks timid fawns shed sullen tears
Ii, a worn man; forced to submit stumble
Manifest grief, therefore
I withdraw my pen in nocturnal repose

In the face of external desolation, such a protagonist looks inwards to his art, a timeless and relatable character that many fans of metal will probably identify with. However, this character is no pretender to mastery, as his is a complete work. It is brief, granted, but it is complete. And the search continues for albums of this quality.

And an except from ‘Thy Bitter Woe’ to close:

I, The ancient scholar, hath seen it all so grey
Envision the ambient scene.
Unearthly cold beckons, in tender reproach
The frozen tide recedes
My sleeping daughter, her asundered limbs decay
Drown in thy bitter woe

The acolytes of this darkness all too seek to drown in the stream of sound and images.

*As of 2016, Dusk have resurfaced.

Originally written for Examiner.com (http://www.examiner.com/metal-music-in-sacramento/what-you-should-be-listening-to-dusk-review)

Dusk don’t waste anytime getting to the point. After a very short forest sound byte opens the album, Dusk immediately cranks up the heaviness and pummels you with some high caliber death/doom. But thankfully, not of the romantic, mournful variety. Dusk were amongst the early 90’s death/doom bands who scorned violins and weeping vocals, instead aiming for deep, down-tuned guitars and harsh death grunts. Minimalism is an integral aspect of this style, thus it is up to the band to create something interesting and unique within this limited framework. This challenge often produces excellent results, as is the case with Dusk.

Influences from Aussie masterminds diSEMBOWELMENT are obvious, as Dusk deploys a similar contrast between distorted doomy riffs and ethereal clean leads. However, Dusk veers from diSEMBOWELMENT’s death metal tempo shift approach, opting to stick with nothing but pure doom. And ugliness isn’t Dusk’s modus operandi, either. There is an esoteric sort of beauty to the music. Indeed, the album title seems appropriate, and the two words ‘majestic’ and ‘ruin’ seem to describe the music’s atmosphere all too well.

The album is produced perfectly. The guitars have a lovely crunch, which the clean leads float eerily above. The drums are sharp and clear, and the double bass is so deep you can feel it in your gut. The bass doesn’t stand out, as is typical of the genre. Yet, it gives the guitars the extra deepness to fully manifest the album’s heavy sound.

Although there’s not a ton of variety, Dusk work extraordinarily well within their limited framework. The album’s main flaw that holds it back from achieving the level of quality it certainly would have otherwise? Too bloody short! At a meager 33 minutes, the album leaves a lot to be desired. Sadly, Dusk broke up after this release, with three Dusk members forming an excellent atmospheric doom band called Aphotic. The only other Dusk material ever heard was released as a split between the two bands, and it’s well worth seeking out.

Originally written for http://circleofdestruction.net/wp/

Old school doom metal is popular amongst fans of metal. There are those who choose to live their lives in the past, with their musical roots firmly placed in the early 90’s. Some suggest that metal, particularly genres like black and doom, are a shadow of their former selves and that their past glories can never be relived with this new breed of sub-genres and such of late. To an extent, I can understand this view, but to totally write off an expanding genre with many notable and noteworthy acts in the modern age, in comparison to metal’s roots, is confusing. Bands like this American act, Dusk, are beneficial to the scene as this influential sound inspired a generation of new bands, but comparisons to modern day acts is perhaps naïve. ‘Majestic Thou In Ruin’ represents a section of doom that doesn’t excite fans as much as it used to, but is nostalgic to those who loved the scene of the early to mid 1990’s. The accessibility of this record is pivotal to it’s appeal.

‘Majestic Thou In Ruin’ is a quintessential doom record of epic proportions. Bands like this, although they still do exist, aren’t as prominent as they once were. This breed of doom doesn’t exist as comfortably as it once did because of the expanding nature of music. However that may be, this record is still accessible to listeners because it doesn’t deal with high levels of distortion throughout and the production is perfectly suited to the needs of ’Majestic Thou In Ruin’. Minimalism isn’t as desirable, or effective as it once was. Dusk presents a minimalist vision of depression and sorrow through both their instrumentation and their lyrics, which were themes that old school doom typically comprised of. To me, there is a resemblance to Australia’s legendary Disembowelment in terms of the atmospheric nature of the record. There is a dark shadow which hovers over the soundscapes like a storm cloud and is essential to the portrayal of the lyrics, which are seemingly as emotive as the instrumentation itself. As I’m sure we’ve come to expect of bands of this nature, the guitars typically dominate the destructive depiction of themes. The guitars exist in two contrasting forms. First, the more dynamic distorted form. This side of Dusk suit’s the faster tempos and harsh vocals. Second, the softer portrayal of sorrow which exists in the clean guitars, which are slow and obviously without distortion. This side is suited to Dusk’s more luscious soundscapes, explored on songs like ‘The Transfiguration (And It Was So)’ where clean female vocals accompany the brilliance of the clean guitars and radiant ambience that swallows the listeners soul. Although minimalism does take hold, there are variations in every sense. There is some repetition used, but not an overbearing amount.

Unlike Disembowelment, Dusk don’t deal with varying tempos, explosive material and tend to exclude most of the death metal influences from the record, in my view. Primarily, I view this as a doom metal record and review it as such. Whenever Dusk do explore death metal influences, they tend to become more impacting and set their music to a fast pace, which tends to suit the needs of the percussion and vocals, which exist as the harshest elements of this record. The vocals are typical low growls, perhaps symbolic of most death/doom records though they do vary sparsely. This is when the clean vocals are offered as a partner to the slower, clean side of instrumentation. Both offer a lot to the emotive aspects of the record as they depict the various connotations of ideas like anger, pain and sorrow. The percussion isn’t suited to the slower style because it relies heavily on double bass and destructive beats to symbolise the seductive anger, which flows underneath the main ideas that the record revolves around. The contrasting themes, which have been touched upon already, are the best elements of this record, ‘Majestic Thou In Ruin’. The production, which creates two sides to the music, is fantastically adapted to the instrumentation and compliments it tremendously. The oceanic expanse of ambience that the distorted side produces is divine and yet the production alters to suit the requirements of the clean aspects. Perhaps the most overbearing negative of the record is the fact that it is far too short, even though the 4 songs on the record are lengthy. Other than that, only small problems exist. The repetitious nature that can occur won’t suit the needs of every listener, nor will the often slow transcending evolution. The experimentation of modern day bands may have taken the initial impact that records like this had away. A classic? To most, evidently so.