The Ritual Fires of Abandonment

Minsk are a band that cannot go without recognition. Their sound is simply too big to miss. Another thing that would appear to follow this band around is comparison. I suppose its nothing new for a band of this nature to be compared with bands that have come before it, though its probably unfair and unjust a lot of the time. Minsk do not try to imitate anyone in any way, shape or form. They go about their business and do not worry about what anyone else is doing, though I do accept the fact that there are obviously going to be influences behind the bands music. Having said that, Minsk have produced a sound that stands tall amongst the crowds of similar doom/sludge bands who’re struggling to breath down at the bottom of the pile. Minsk, who’re named after the Belarusian city, give a performance that crushes all below them, keeping them afloat and recognisable from afar. This band, who do maintain their own individual sound throughout are similar to certain acts within the same sub-genre of metal. Neurosis are the main accredited band.

Minsk's individuality in a scene that is perhaps known for sounding quite similar throughout its divisions is quite perplexing in a way. Its some feat for a band, no matter how talented they appear to be, to be able to produce a sound that carves out elements of a number of genres and mix them all together. Minsk have that ability and it works to their advantage. They take elements of progressive, sludge and perhaps even post-rock (or so some might say), a genre which has grown massively in stature recently. Minsk aren't exactly a typical doom metal outfit, so if you're expecting traditional doom, you're going to be in for a disappointment. Minsk may not sound like a traditional doom metal act, but their behemoth-like breakdowns let everyone who is anyone know this bad boy of doom is just that, a doom outfit. However, though they may be tagged as doom, the other outside influences, particularly sludge, are called into action on a number of occasions, giving Minsk a sound that can resemble others, but is largely individualistic. Spiralling soundscapes, piano interludes and a difference in vocal expression makes Minsk a tricky band to pin down and pile cliché on top of.

Whereas doom metal bands generally tend to focus their energies on low rhythmic sound waves, Minsk prefer to mix it up a little. Low grooves and fast flowing melodies. Minsk aren't afraid to experiment with the genre, as the vocals heavily imply. They like to keep things sounding fresh, this definitely appeals to a wider audience, which in itself could make it an instant hit amongst fans and those who are looking to become fans of a sometimes formulated genre. 'The Ritual Fires of Abandonment' shows a significant amount of progression from the first full-length, 'Out of a Center Which is Neither Dead nor Alive'. Areas like the bass have become more fixated on impressing and leading, whereas they might have been more casual on previous efforts. Minsk tend to allow different sections a chance in the spotlight before bringing it all together for one last swansong. The vocals, impressive as they are, control the tempo of the music. When they slow down and take the spoken word style, the music slows and tends to allow a transgressing style of play on drums to take hold but then, when the guitars aim to pick up the speed, the vocals are there to meet them half-way and express the various underlying emotions together.

The vocals are a particularly improved area. I love the clean vocals especially. They show a deeper side to Minsk that wasn't previously on offer as much as it is now. They actually have more of a place in Minsk's style than the harsh vocals. The harsh vocals have a tendency to detract from the melodies Minsk lay down, whereas the clean vocals are sung harmoniously alongside the melodic nature Minsk have. 'The Orphans Of Piety' is a terrific example of such a thing. The clean vocals tend to run more smoothly across the melodic breakdowns. They ride them like a surfer carves through the waves of the ocean. The vocals which express a harsher, more intimidating side to Minsk are louder and tend to put barriers up across the music, which is a negative.

When those harmonic clean vocals come in to play, the barriers are taken down and we're offered a far more expressive side to Minsk. A side which isn't fearful of expressing it's lyrical themes with a bit more heart. Screamed vocals can tend to become annoying after a while, especially when you're trying to hear the inclusion of the subtle bass. Besides, the percussion and low tuned riffs of the first guitar express the anger and anguish better than the vocals do. It's frustrating when the vocals take away from the content the instruments provide because metal is about the instruments, not so much the vocals. The lyrical themes suggest Minsk construct lyrics based around complex and abstract themes, the same could be said of their music. To an extent, they remind me of the complexities of Tool (though there are those who will see this as a negative as it is sometimes labelled as pretension, not complex) and the drive of Neurosis.

Due to the complex nature of Minsk, what with using one guitarist who plays a slow and low riff and the other who plays a higher toned riff, we can obviously see that this band has a lot of dynamism. Unlike some of the genres artists, Minsk play with an energy. It may not be an over-the-top style of energy, but it's hidden inside the complexities of this band. The sheer intensity is enough to impress some members of the audience. Using two guitarists who play different riffs at once is not enough though, but don't fret. The use of keyboards creates an atmospheric aura rich in melody. This will thoroughly please anyone who likes their music to have an ambient touch. In terms of highlights, it simply has to be 'The Orphans Of Piety'.