Eerie Sceneries

Welcome to the party, pal. Impavida are the new face of depressive black metal in the glorified German underground. Thankfully, this breed of depressive music comes in a new shape, leaving behind all the down trodden notions of what this sub-genre consists of. Though there may be some hint of traditional elements which have seen the depressive sub-genre gain notoriety and an ill received public opinion, Impavida strike me as different. There is a fresh sound to their decaying souls, ridden to the depths of despair by the depression that sinks into our skin through the waves of sorrowful soundscapes. I, having heard the associated band Lantlôs, expected some degree of experimentation due to the fact that Lantlôs themselves deal with an experimental sound when it comes to malformed black metal. People have likened Lantlôs to the highly original and much debated French band Alcest. There can be no debate that Impavida do not stretch the imagination with their semblances of experimentation like Alcest, or even Lantlôs do. However, with their impoverished and intelligent atmospheric tendencies, Impavida do strike a significantly glowing opinion from within myself. Give the simple fact that ties are held with Lantlôs, in particular, my thoughts prior to hearing this majestically driven piece were positive. Having now listened to ‘Eerie Sceneries’ again and again, my pre-emptive opinions have now been justified beyond measure. The metaphorical title for this debut, ‘Eerie Sceneries’ is apt in its expression to the listener of what is about to follow during its course. The title acts as a suggestive tool, warning the listener that one must be headstrong upon approaching the creepy atmospherics that Impavida hold over the audience. The truly uncomfortable feeling that one gets from listening to the awe inspiring atmospherics can be likened to the feeling one got when the LLN firmly grasped their mighty hands around the necks of the audience back in the early to mid 1990’s. The creep show that unfolds before our eyes is significant because it is a revolutionary movement away from the traditions of the sub-genre it calls home. Impavida have brought to the scene something fresh, something new with ‘Eerie Sceneries’. Its no surprise that this breed of German metal are signed to the up-and-coming German label, Ván, who also supply homes for such legendary bands like The Ruins of Beverast and other talented acts like Faal, Kermania and Funeral Procession. Despite the dark and eerie concepts on offer, there is much light at the end of the tunnel for this band. The musicians behind the themes are talented and driven to success so, with more recognition and the like, Impavida will spread their sound across the waves.

The most striking element of this debut is, of course, the atmospherics and soundscapes which are pivotally developed throughout each song that participates on the record. Each breath much maligned with connotations of sadness and sorrow is a plague upon the houses of the masses who proceed to buy into this form and content. Shakespeare himself said through suffering we learn and that is essentially the teaching methods of this wonderful debut. The suffering that is drawn out by the repetitious form drills its hazardous message into our skulls again and again like a disease working its way around our vital organs before it cuts off all life as we know it. The dark atmospherics are something every depressive fan should be accustomed to, but Impavida utilise a mesmerising keyboard section, or what sounds like keyboards and programming, to fully engage the listener with their lyrical themes of terror. The iconic ‘Dark Skies’ is a fantastic representation of what Impavida stand for. The mesmerising and funerary keys playing out like a organ would do during the funeral procession. Even the amusing ‘Salad Fingers’ sample used during the opening and the ending of the track serve to creep the shit out of the audience. “I like it when the red water comes out” being repeated like the marching feet of the members of the funeral carrying the coffin towards the altar which lies silently in wait for the burning to begin. The uncomfortable feeling I received during this record can be likened to the harmonics and soundscapes that funeral doom, ironically enough, draws out. The rasping vocals, perhaps a little cliché, act like the Devil giving his own sermon about the origins of Hell and where we’re all doomed to go after death. As lyrics are not provided, the listener is to use their own imagination to decipher what might be being said, which actually works in favour of the record and thus enhances the gradual mystique which builds from the open grave, six feet into the ground, where the guitars and repetitious double bass do their work. Despite the often monotonous and repetitious nature of the record, it manages to sound appealing throughout due to the fact that it encompasses such intriguing and interesting sound patterns. There are monotonous moments, but Impavida have a habit of subjected their listener to moments of the sublime too, when the guitars take their rampant stance as the leading instrument, when the bass terrifies its audience with its low and dreary soundscapes of anguish and when the keys and programming swirl and twirl like the stench of death in the air.