Craig and I return with the second installment of Outré Monde for Last Rites. I think it’s some of my best writing yet.
Though you and I have had a few conversations on drone and it’s ilk, I don’t think we’ve ever touched on when it works for me and when it doesn’t. I’m picky when it comes to drone, unlike say, my whoring for 10th generation Sabbath clones. It has to be transformative or transportive; make me feel other than I am, or take me places I can’t reach alone. Apocatastasis, despite it’s meaning, was not personally transformative – I’m the same old schlub the whole way through – but I was transported.
I was only slightly joking when I said it was the music of the spheres. Apocatastasis moves on a scale that feels interstellar; the vistas are vast, the sounds unfold from afar, reaching the ears long after the image has come and gone from the mind. Cold Womb Descent are masters of the swell. They take a synth wash and drag it’s rise from a dust mote to a star and it feels like it unfolds over the millennia that process actually occurs.
But it’s never dull. This is epic music, a triumphant big bang slowed 800 times.
I think it’s safe to say I liked it. Even though it did bring to mind the Roy Batty “tears in the rain” section of Vangelis‘ Blade Runner score once or twice. I’ll be damned if this isn’t the proper sound to accompany the glittering c-beams near the Tannhäuser Gate.