NausikaDalazBlindaz, April 29th, 2015 

Already a very busy act with seven releases in 2014 alone, what does this new act from Khabarovsk from far eastern Russia have to offer on its first release for 2015? "A" is a very cold and wintry ambient black metal recording. At first I thought this was all-instrumental but on listening to it properly, I think I can hear very faint raspy screeching in the far background on the first track. 

For such icy soundscape music, this EP is surprisingly soothing. Whether this effect was intended or not, much of it comes from the smooth or pure-toned sound of the keyboards that help generate the overall atmosphere. Even the grinding guitars make little impact on the smooth sounds; if anything, they tend to emphasise the serene quality of the keyboard melodies. There is also sombre synthesised orchestral backing that adds drama and an epic spacious quality to the music. The music is quite easy to follow as it's dominated by guitars and keyboards in equal measures, the two sets of instruments duelling together in melody and riffing, with percussion taking a very junior role as time-keeper and pace-setter. An example of this is the middle track "Amour" where guitar and doll-like synth compete for attention above a barely audible rhythm section; the isolation and melancholy of this track, in near-deep space, are almost overwhelming.

The transitions from one track to the next are quite abrupt and the atmosphere and sound change just as suddenly as well, but at least we know when one song ends and the other begins. "About Wind" somehow manages to combine smooth tranquillity with hints of pain and anguish in the roughed-up tremolo guitar tones; there are also dissonant guitar chords in the background that, however faint, manage to throw a sense of unease into the music. The final track sounds very elegiac and sad if very repetitive with rich and unusually tinny organ tones over the resonating background drones.

At least this can be beautiful and reassuring to listen to, if not brimming with originality and energy. The repetition on some tracks can be tiring and with this kind of music, dependent on tone and texture, a mix of live acoustic instruments and synthesisers is better than all-synthesised sounds. "A" can just get away with all-synthesiser effects and repetitive melody as it is short. There needs to be more black metal as well to add a tougher edge as what BM exists here is very good - there just isn't enough of it! As an introduction to the band's music, this EP is not bad to hear but I'm not sure most listeners would be inspired to make repeat visits or explore the band's music further.

NausikaDalazBlindaz, March 21st, 2016 

For those who love their atmospheric black metal to be calm, introspective and serene before the icy blasts of winter storm through and bring everlasting cold hell, here's Shadowland with "Последняя ночь перед бурей", translating into English as "Last Night Before the Storm". This album was one of seven recordings (including two other full-length albums) made by the Russian one-man BM project. Let's hope that the quality of this recording justifies the output for 2015.

For BM purists who insist on hearing grinding tremolo guitars and harsh singing, there is black metal all right but it serves mainly as support for the sparkling cold atmospheres and twinkly synthesiser work. The BM element is very lo-fi to the point of sounding very tinny with battery-acid corrosive guitars that steam away like whining hornets and blast-beat drums thudding at insane speeds. The singing is far back and deep in the mix, and tends to become just another layer of rough texture in the music. On the whole this part of Shadowland's style can be very tough and hard-hitting. Probably only the production and lack of bass to ground the music and add a robust strength are the things holding it back.

The keyboards usually dominate the music and this is where the album falls flat - the two-fingered melodies are nothing special and are sometimes downright annoying in their repetition and flat banal tones. As the album continues, Shadowland man GorDan brings in a slightly more epic approach with an emphasis on melancholy piano melody and the atmosphere to match. While this can sometimes be pleasant, the repetition, the flat notes and the dull accompaniment cast a pall more gloomy than actual melancholia.

I suppose if listeners like their cold and introspective atmospheric BM to have strong pop elements then this album might suit them. For me, this particular eye in the storm of the blizzard just wasn't short enough. This album really does not offer much original or distinct in the realm of contemplative dark ambient BM and comes perilously close to kitsch BM pop in its narrow range of synthesiser sounds.

Oddly chirpy birdsong bookends the album front and end as if we're heading into spring, not an Arctic winter storm. This in itself might tell you all you need to know before you try listening to this recording yourself.