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DESCRIPTION FROM CRUCIAL BLAST:
A stunning new debut from an extremely secretive and mysterious band from Norway called Detritivore, Pakt is an intense collection of dark, gothic visions steeped in a mixture of mesmeric black metal abstraction, pulsating Teutonic ambience, disembodied doom metal, and classic industrial music. Seems to describe half of the albums that I've been listening to lately, but Detritivore are on to their own thing here. The first time that I listened to Pakt, I had a hard time trying to describe it; these are heavily textured slabs of nocturnal ambience and spectral heaviness that require repeated listens to really absorb. Apparently some sort of concept album about the member's refutation of organized religion, this ultimately is an engrossing album of psychedelic soundscapes that are formed from field recordings that the duo have captured and cut-and-pasted together with dark synthesizer ambience, primitive crushing doom stripped of any semblance of forward motion, buzzing and choruses of clanking dystopian metal that evoke images of burnt-out cities and futuristic factories belching out vast plumes of black vapor into the sky.
The opening track fades into view with a deep rattling rumbling percussive ambience, like the sound of a distant train, or someone playing a quick marching beat on a snare over and over and over, strange moans and random sounds echoing in the background, setting a very eerie vibe almost instantly, and then gradually the guitars begin to come in at the same time as that percussive rattling fades away, a buzzing, distorted single chord strummed quickly for a moment, then left to hang in mid-air, a brief moment where everything falls away, and then suddenly the droning riff kicks right back in, only this time it's joined by a haunting vocal melody, ghostly harmonized singing that almost sounds like some ancient eldritch folk song being sadly sung over the minimal, fuzz-soaked guitar. Drums crash in, slow and sparse but pounding, turning this into a morose, doom-laden folk dirge, dropping in and out as the droning guitar does the same, the song becoming more fragmented and abstract as it reaches the end.
The following song begins with more droning guitars, deep rumbling feedback swirlign beneath suspended buzz and amplified hum, more guitars slowly joining the fold, the sound slowly blossoming into a massive Sunn-esque dirge, then a massive blackened doom riff caves in, completely turning this into some Sunn-style doomdrone, the crushing riff circling through the murky haze, trebly drones and swells of fuzz forming whorls of gritty sound in the background. The metallic sludge eventually drops out, and leaves behind a wide expanse of field recordings and super minimal thrum, a subdued dronescape made up of the distant buzz of aircraft flying high above, keening strings in the distance, strange echoing sounds and deep textural hiss.
Track three is another mysterious dronescape, this time made up of layered machine noise, sinister whispered vocals, an out-of-tune guitar plucking out the same two-notes over and over, weird delay effects and random noises, and then a single sad violin appears, playing a simple melancholy melody over the guitar for a minute before a terrifying rush of distorted noise suddenly descends from out of nowhere, burying the eerie melody beneath a grinding, buzzing distorted roar.
That's followed by the prettiest track on Pakt, which is at first another abstract industrial dronescape, the sounds of grinding machinery and subterranean rumblings and sheet-metal avalanche far off in the distance, but then a glorious gleaming cloud of cosmic synth tones begin to form, forming into a gorgeous angelic choral melody above the blackened, smoldering surface, total kosmische bliss rising high above a scorched planet, equal parts Tangerine Dream and grim industrial drone...
It's with the final two tracks that the black metal side of Detritivore finally comes into view, although even here it's really minimal and droning, more like dark psychedelia informed by the atmosphere of black metal. An ominous guitar opens track six as a super-distorted, crumbling blackened doom riff crawls forward, another Sunn-like slab of disembodied sludge lumbering over another simple guitar line; it then breaks off into more minimal field recordings and hushed urban ambience for a few minutes, then returns to that creepy riff from the beginning, now backed by additional blackened guitars and thick swathes of corroded low-end and deformed tremolo before the piece collapses in a flurry of delayed percussion and dubby effects. And then the final track comes in, for the first minute or so just industrial noise drenched in reverb and other effects, an intro to the droning black metallish riff that comes in and becomes the center of the track, a simple chord progression repeating over single-note tremolo picking, almost more like an old Pink Floyd instrumental than black metal, certainly not all that distorted, but definitely quite creepy and ominous, especially as more layers of buzzing drone, and dark cosmic synthesizer and backwards guitar appear, it suddenly all sounding a LOT like Chicago blackened psychdrone duo Locrian, a totally hypnotic and haunting blackened krautrock jam, the Tangerine Dream-style synths coming to the fore as the guitars melt into the background, the throbbing bass becoming more prominent, crashing cymbals washed across the periphery, everything eventually fading into shadow...
This album is pretty amazing, unveiling a strange phantasmagorical world shot through with brief flashes of stunning beauty that struggle against the devouring blackness. Fans of Locrian should definitely check this band and album out, and it also comes highly recommended to fans of likeminded black abstractionists and drone sorcerers like Pussygutt, To Blacken The Pages, Fear Falls Burning, Half Makeshift, KTL and OS. It's available on both Cd and Lp, both formats are limited edition, and both packaged in a gatefold sleeve that bears some fantastic artwork from Justin Bartlett.
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