Out of a Center Which Is Neither Dead nor Alive

‘Out of a Center Which is Neither Dead nor Alive’ is the long winded debut from Minsk. For several years now, I’ve been under the impression that ‘Burning’ was the debut, but apparently not. I do recall it being enlisted as a full-length release on Metal Archives not so long ago, but that appears to be a case of human error. So, here we have the first full-length and its time, already, for a confession of sorts. I’ve never been a major fan of this record. There was always something holding a positive opinion back in regards to this record. When I evaluated it in comparison to ‘Burning’, a very mature demo, and the second full-length, ‘The Ritual Fires of Abandonment’, I always took up the opinion that it never quite matched the high levels of performance that those two aforementioned releases managed to achieve. Given some space and time away from this piece to gain some much needed perspective, as well as to explore the genre a bit further, I have gained an appreciation for this record and it is much deserved on the part of Minsk. At the heart of this appreciation is Minsk’s leader, Tim Mead. His vocal performance, as well as the reflective keyboards he provides, allow Minsk to take a firm grasp on their audience as his immense creative input is likened to the influence that Scott Kelly has on Neurosis. Doom metal doesn’t come more experimental than this, it seems. Having scoured the genre, looking far and wide, into territories unknown, Minsk offer a prodigal son in the form of their tribal-like sound.

The band have gained much notoriety for having a sound that resembles that of legends Neurosis and whilst I can understand that perspective, I also like to feel that Minsk have offered their own twist to the comparison. Many bands who’re acclaimed to sound like Neurosis usually do and those bands are often called ‘clones’ (sometimes fairly, sometimes not), but what one has to remember when judging that concept in terms of Minsk is the fact that Minsk are primarily a doom metal band, Neurosis are not. So to apply the techniques of Neurosis and turn the overall outcome in to one of a doom metal sound is unheard of. This record represents that and is the beginnings of a new sound within the genre. Although the means for success are still the same for Minsk as they are with other bands, Minsk are able to contort and constrain their sound whenever they see fit. The sound can be condensed down to a simplistic drum pattern, of a bass line that leads from behind the shadows. The manoeuvrability of Minsk’s play allows them to slowly stroll through spaced out soundscapes and then stride up to and crush the preconceptions of the listener with a quick burst from the guitars, or screams of anguish from the vocalist. ‘Three Hours’ is a perfect example of the cohesion between the musicians. Slow sections alongside impacting and quicker tempos. Minsk afford themselves a lot of time in which to convey their lyrical content. With songs ranging up to 15 minutes, the listener never feels as if they could have gotten more from the music.

There are a few main reasons as to why this works when tagged as a doom metal record, and not merely sludge/post-hardcore. Like Neurosis, Minsk work on the basis of a good team ethic. Instead of allowing the guitars to dictate like a egotistical and maniacal leader, the band assumes no control to any instrument and, more so often than not, allows the vocals free reign of the material. Usually, for bands of this nature, it is fair to assume that the vocals will either make or break the band. For the band to have a completely successful stint within the genre, the vocals need to be accessible to the listener and in the case of Minsk, they thankfully are. Although there comes a time when the Minsk vocalist, Tim Mead, pulls out a throaty scream or two, the vocals are usually surreal. They echo the soundscapes in terms of that unusual tribal feel, which is a particularly pleasant aspect of Minsk’s game. The soundscapes are effective and impressive. Switching from the tribal-like feel to the drumming and then to the confronting and emotional vocals, which sing about complex subjects and abstract themes, Minsk have a multi-layered, multi-dimensional appeal in regards to the sweeping soundscapes.

Images of metaphorical timelessness drift by as there are long periods of ambiance which are drawn out by the introspective keyboards, also provided by Tim, and the long sustained pressure of the powerful guitars, of which there are two. The bass, which is audible, isn’t as effective as it later becomes on the second full-length, but it serves its purpose by laying the strong foundations to the soundscapes, which are full of emotion and conflicted with depression and strife. Although this record doesn’t represent the best that the band has to offer, it signals a beginning to the impressive career that the band is establishing. Here’s to hearing the next album!

Highly atmospheric music that aims for a cold, distant and substantially dramatic sound is what you will discover on “Out Of A Center Which Is Neither Dead Or Alive.”

The six epic tracks herein take the listener on a dark trip through dismal, detached melodies designed to crush your very soul. The cavernous strains of “Narcotics And Dissecting Knives” impart a feeling of emptiness as highly melodic guitars rise above the din, creating an offsetting contrast of aural stimulation.

This intense slab of sorrow and woe was birthed at Volume Studios in Chicago and the entire blissful depression was expertly produced and engineered by Sanford Parker, a man that quite apparently has an ear for thunderous melancholy.

Electronic enhancements add to the feelings of distance as Minsk undertake a composition of cosmic proportions in “Holy Flower Of The North Star.” Akin to the experience of a mescaline sunrise, this track resonates with haunting beauty.

Surrealist lyrics further multiply this band’s shaman-like meanderings amidst a wall of crushing guitars and pounding beats as the band explore a highly creative sonority comparable to a drug-induced moment of supreme awareness.

Seek out this highly engaging record and discover why Minsk is a singular sonic deliverance of all that aspires to breech the barriers of conventional music.

Having no prior knowledge of the band until receiving this in the mail, I really
didn't expect much upon playing it, and after a lengthy instrumental intro
droned on uneventfully for a few minutes (and seeing that the track was
over 14 minutes long) I thought this was another boring project using
phrases like "epic" or "monolithic" to disguise slow, pretentiously dull
meandering shit. But luckily I decided to sit back and bear the full brunt of
this indeed epic album. I was happily surprised to be treated to an intense,
mind-throbbing hour of trancey, tribalist psychedelic ambient doom, with
raging stoney riffs and roaring primordial basslines completed occasionally by
top-notch vocals alternately droning with mesmerising grace and tearing
through the air with visceral force.

The shortest track is eight and a half minutes long, so yeah this is an album
you put on for a bong-sesh which doesn't involve getting off the floor for a
while. Plodding, dreary, yet intricately-structured, this is perfect for fans of
Neurosis, Khanate, Green Evening Requiem, Dead Can Dance, Opeth, Tool,
Melvins, Crowbar, Isis, etc. as well as the random adventurous music lover.
The album art is trippy, a winged serpent on the cover forms the infinity sign,
devouring its tail, and on the back is inscribed "Death is the beginning of Life
and Life is the Beginning of Death".
Indeed...

Saxophones give the last track a bizarre tint, reminiscent of John Zorn's
avante garde musical stews and the vocals come up to the front of the
scenery, trailing through harsh growls and strong "clean" singing similar to
Maynard Keenan's (Tool). Strummed mideastern-sounding acoustic guitars
amidst eerie electronic wind-noises on "Bloodletting and Forgetting" set a
dark chilling mood of dense wonder, and it paces suspensefully, the drums
filling nicely and some weird howling in the background makes me think of
Leviathan's ambient black metal moments.
Then it finally climaxes into a mind-blowing waterfall of pounding tom drums,
thundering guitars and pulsing, spacey electronic noise effects, the vocals
falling all around in a chaotic yet awesomely constructed tempest.

There is so much to absorb here, you can listen to it repeatedly and still feel
like it's new. Sanford Parker from Buried at Sea produced this and also plays
bass, and he does a great job on this. The lyrics are dark, poignant nihilistic
poetry, take for example "Wisp of Tow"; 'Life ends as leaves fall/Occam's
razor strikes again/Can I dance if I have no soul? ...Suffering from
aberration/Sores ignored, panic restored/Consuming the fruits of our labors.
We are the aberration.'
The lethargic, dirgey nature of Minsk will surely deter the A.D.D.-afflicted
metalheads and mainstream listeners but those into cerebral, powerfully
mammoth doom with some real depth and substance will love this. I'd
recommend picking up their previous release ("Burning") as well.

Standout tracks:
Holy Flower Of The North Star
Bloodletting And Forgetting
Wisp Of Tow

(from www.darksoul7.com - as Terrorgasm)