Review: CALL FROM SUBCONSCIOUS – Sorrow and Avidity

Year of release: 2021
Released by: Repulsive Echo Records
Rating: 7,8 / 10

Finding this collection in my promo folder and listening to it blindly, it almost blew my mind up, with the motley music of these Germans; I was mistaking it for an album of some modern band. Then it turned out that the group had not existed for a long time, and the records included on the disc were dated 1995 and 1996. But this did little to change the first impression.

The compilation starts with the song “Nosferatu”, where the band performs proper ancient cavernal Death Metal in German language. So far, nothing indicates an unforeseen development of events. Ear notes that CFS play and sound quite professional, although this is demo material. The second track rumbles no less harshly. On track three, the band goes into doom tempo and mood. Suddenly it turns out that a full-time flutist was present in the CFS all this time, and she played some parts before, only modestly. And here the flute sounds like a secondary, but important instrument. The sad paired solo on acoustics and flute at the end of the song makes you forget about all the Death Metal carnage that happened before. This is the first, but not the last, paradigm shift. The next number is an almost neofolk instrumental track for five and a half minutes, where again acoustic guitar and flute do all the stuff.

All this was the second demo, and the first one is already rushing after it. Perhaps it is a little less technical, but even more daring in terms of composition. Here aggressive Death Metal and doom with a flute can replace each other 2-3 times per song. Guitars and vocals do whatever they want - they recall the barbarity of HELLHAMMER, then they ring and groan in the vein of “Into The Pandemonium”. Some of the riffs and chords are obscenely avant-garde. All the material in general cannot be called avant-garde, but it is definitely peculiar and unpredictable. Perhaps it's good that the band broke up after two demos. With such an eclectic approach, it would most likely end up playing gothic fuckery about thorns and black roses on yellow snow, but it managed to keep its spirit and uniqueness. My recommendations!

P.S. This guitar play in the end of "White Funeral" is something, isn't it?

Post Author: F1sher16

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