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Mörk is the most recent album by death/ black metal group Lava Invocator, released in March 27 by a partnership between Satanath Records and More Hate Productions. With seven tracks – Awaken, Empyrium Et Nihil, Gestapofallos, Black Dawn, Dark Thunder Sky, Totenkampf and the eponymous Mörk – this is a very concise and abrasive, but intelligent album, with vigor, spirit and style of its own.
With a straight to the point approach, and an objective style, the songs in Mörk are punctuated by an aggressive and direct sonorous volatility. With ostensive and rapidly pungent guitar lines, the rhythms generally are sordidly excavated, to reproduce a tempestuous feeling of radical demise, where everything is simply destined to be destroyed, corroded or to fall apart.
Although there is a general lack of new elements into the overall musical layer of the sound, the style of Lava Invocator has a genuine magma of fury, originality and liberal creativity reflected in the sound. You can literally feel the spontaneous tremor and the ambivalent carnage proposed and intensely delineated by the ardent belligerent stream of the music, surreptitiously exposed by the vivaciously dispersed sentimental tissue hidden in the subterranean fields of the sound.
Black Dawn can be considered a formidable example of a tempestuous and impeccable song, conceived in the precise horizon of the lurid and lugubrious style practiced in the album, with the tremendous – but masterly contained – fury of the creative capabilities of the musicians involved, correctly directed towards the sensible point of the true potential that their abilities can achieve. The next song, Dark Thunder Sky, can be considered another marvelous example as well, about how the group conceived with more nefarious elements the fragmentary sonorous ocean of a dying sentimental world, being slowly diluted, with the counterpart of its infinite sorrowful corrosion being formidably reproduced by the precisely synchronic convergence of the instruments. The next song, Totenkampf, is exceedingly marvelous as well. With a lancinating, but more cautious and reflexive fury, and brilliantly amazing, hallucinating and reflexive guitar lines – with the juxtaposition of an imponderable, colorful and melancholic guitar solo – you simply are meant to travel to a world where a new universe of solitude has been forgotten, and a new one has been conceived.
Although Mörk has its limitations, in general, it is a very exceptional album. With a life and a graceful color of its own, this record really deserves to be highlighted, in all four corners of the underground scene.
Wagner
With a straight to the point approach, and an objective style, the songs in Mörk are punctuated by an aggressive and direct sonorous volatility. With ostensive and rapidly pungent guitar lines, the rhythms generally are sordidly excavated, to reproduce a tempestuous feeling of radical demise, where everything is simply destined to be destroyed, corroded or to fall apart.
Although there is a general lack of new elements into the overall musical layer of the sound, the style of Lava Invocator has a genuine magma of fury, originality and liberal creativity reflected in the sound. You can literally feel the spontaneous tremor and the ambivalent carnage proposed and intensely delineated by the ardent belligerent stream of the music, surreptitiously exposed by the vivaciously dispersed sentimental tissue hidden in the subterranean fields of the sound.
Black Dawn can be considered a formidable example of a tempestuous and impeccable song, conceived in the precise horizon of the lurid and lugubrious style practiced in the album, with the tremendous – but masterly contained – fury of the creative capabilities of the musicians involved, correctly directed towards the sensible point of the true potential that their abilities can achieve. The next song, Dark Thunder Sky, can be considered another marvelous example as well, about how the group conceived with more nefarious elements the fragmentary sonorous ocean of a dying sentimental world, being slowly diluted, with the counterpart of its infinite sorrowful corrosion being formidably reproduced by the precisely synchronic convergence of the instruments. The next song, Totenkampf, is exceedingly marvelous as well. With a lancinating, but more cautious and reflexive fury, and brilliantly amazing, hallucinating and reflexive guitar lines – with the juxtaposition of an imponderable, colorful and melancholic guitar solo – you simply are meant to travel to a world where a new universe of solitude has been forgotten, and a new one has been conceived.
Although Mörk has its limitations, in general, it is a very exceptional album. With a life and a graceful color of its own, this record really deserves to be highlighted, in all four corners of the underground scene.
Wagner