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Track By Tracks: Svet Kant - The Visage Unbiased (2019)

1. Delirium (Introitus):

This track serves as a short intro and sets the tone for the whole record. It consists of a canon made of 4 guitar parts in which every part has an octave effect. At the end of the introduction piece, an ending is presented. An ending that will be utilized in each song yet with a slight variation each time. This means the chord progression is the same, but the rhythmic structure and context is different.

This introduction is dark, somber and has a funeral vibe. Almost sounds like multiple organs playing throughout the full spectrum of the frequency range.

2. The Throne:

An eclectic track that starts with a kick to the teeth. Powerful and masterful drumming by Daragh pumps the listener up. The track works around blast beats, poly-metrics, and growls/screams. Written in the styles of Meshuggah and the bombastic drumming of Mario Duplantier. To spice things up, the track ends with an instrumental passage inspired on late (jazz-progressive) Opeth.

3. Labyrinths (of Scorn):

Probably the most difficult-to-pull-live track of the album. The name tips the listener on what the track will be like. A labyrinth of rhythm, twin-guitars, and melodic interludes. It works heavily on the instrumental side with concise yet direct vocals. We challenge the listener to figure out the time signature.

4. A Gaze Indifferent to your Suffering:

Our first release of the album back in 2018. The initial riff is inspired by contemporary classical guitar music. Most precisely the initial atonal cluster was taken from Ginastera's guitar sonata (second movement) and worked around throughout the main "scene" of the piece. The track then develops to a more Gojira-esque landscape, working on a conversation between bass'n'drums and guitars. A little of homage to Metallica's "One" is portrayed somewhere in the track, can you guess when?

5. Circular:

A "ballad" that divides the album in half. A time to relax and let the harmonies and counterpoint lets the listener take a step back and reflect. The structure of the song is repeating the same section 3 times (hence the title of the track) and vary it on each repetition.

6. Faceless Being:

Back to business. A more straight forward track with interesting syncopations. As you can see by now, we don't work much on choruses and pre-defined song structures. The track flows seamlessly, with Tool-esque passages, Meshuggah-ish harmonies, and a suitable and interesting beat. A great track to bring the listener back onto the overall vibe of the album.

7. An Overlapping of Feelings - Pt. 1,2, 3:

The real meat relies on part 2. The outer movements, parts 1 and 3, are instrumental and serve as an on-set and off- set for the middle part. The middle section combines the perfect mix between the Opeth from "Still Life" and the Meshuggah from "Obzen", yet with our own imprint. The final section of such tracks combines the best elements of
both Nevermore and Decapitated.

8. The Cogs of Envy:

A more "trashy" and technical song reminiscent of late Decapitated. Loads of double-bass drums, guitar works, and riffs. Swirling in and out of groovy sections with blast beats, the track deviates onto heavy drumming to finalize with a Deftones-esque outro with epic choral-inspired vocal harmonies.

9. Personae Contra Natura:

The longest track in the record. This track was inspired by 2 focal points. The first, Opeth's "Wreath". The second, Meshuggah "Electric Red". The result, a journey through a dark void full of strange creatures, swirling vortexes, and absolute chaos. As defined by someone, is like listening to a Rubik's cube. Or even more so, like Pantera on steroids.

10. Sea of Planets:

A beautiful hauntingly song featuring classical guitars and a soprano. The perfect wrap-up to end the journey on a high note. Finishing the whole experience with a relaxing, chill, and reflective emotion. Ideally to embrace ever-so- needed sleep and meditation.

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