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Track By Tracks: Dismal - Memento Mori (2020)

1. Intro:

Accompanying the solemn and mortuary organ that makes up the introduction to the EP, there is a preface written in Spanish, whose translation would be:

“When the celestial arches of infinity were opened above my eyes, flowered with voids; the dry rivers of silence, among the stars, spilled my name as an insult to life. The skies poisoned my soul, cementing with my own corpse the paths of the indeterminate, of the apathy and the ironic truth that surrounds life: death is the only real thing.

Like witches on fire, the starlight bewitched my spirit with abstract kisses; turning my despondent flesh to ashes, leaving a consciousness that cannot separate one from the other. An existence crowned by the hands of death, resting on the throne of nonsense”. 

2. Memento Mori I: Ashes:

A monolithic and sepulchral riff accompanies this track largely, delivering that characteristic heaviness of Second Wave Doom Metal, accompanied by a drums mainly responsible for deeply marking that dense environment, and not overloading with ostentatious ornaments the sonorous darkness. This cryptic climate is enhanced with the entrance of the voice, which opens with low gutturals, very much in the line of Death Metal, nuanced with a raspy voice without great technical pretensions, but which achieves the task of diversifying the sonorous sensation, breaking with the uniformity of the base riff.

The song fall into abrupt rhythmic changes, as in the chorus, adding more brutality and consistency to the track, which are accompanied by guttural grunts with surreal phrases such as "There's dried blood in my veins, ashes of my old pain" that suggests the symbolic, funeral and dying character of the composition. After an interlude marked mainly by strings and whispers, the song opens the way to a faster riff accompanied by a double bass drum, which increases the tension; sensation that is once again broken by a change of harmony and percussion before returning to the monolithic and sepulchral base riff, this time it is accompanied by a melancholic arpeggio that concludes the song. 

3. Memento Mori II: The Rite:

A dynamic and mortuary atmosphere opens this track, where the strings play creating a two-dimensional ambient decorated by harmonic consonances that play behind dead notes, granting a versatile musicality that does not leave aside that heavy and funeral miasma conjured by the previous track. The guttural voice plays from midtones to high tones, leaving aside the scraped vocal melodies, to enter a game of thunderous and deep screams, which make their way like a desperate recitation.

During the progression of this song you can perceive much more presence of the bass in small solos and soft flourishes that give it a more experimental personality, without leaving the thematic line. Almost concluding the song, the track explodes in a dark counterpoint conversation between bass, guitar arpeggios and subtle arrangements of ride and cymbals that together are intertwined with high and low gutturals, creating a chaotic and abysmal atmosphere that ends unpredictably. 

4. Memento Mori III: Memories:

The song begins with a dark, contemplative bass solo that marks the melodic base of the guitar riff, coming on later with great power alongside a gutural voice and a heavily marked drum in slow tempo.

This introductory power is reduced to a much more reflective level in the pre-choir, which allows an almost relaxing harmonic transition, before being attacked again by another change of atmosphere: the choir; which enters with a strong and long guttural with the phrase "What shall I ever do?" inviting the listener to introspection, conditioning the almost ontological intentions of the lyrics, these worked with a poetic language characterized by the use of dark and sepulchral images as allegories, for uncertainty and existential emptiness.

After the chorus we find a quite rhythmic and dynamic interlude where the bass plays with soft guitar solos and, between whispers, the drums seem to show experimental resources borrowed from the blues, to mark each compass. Everything just to make way for a new bridge where the speed intensifies and the guitar shows a melodious solo with changes in speed and harmonic alternations, playing between chords and arpeggios. Finally the song closes with the chorus in a much slower style and recited in the background, evoking a solemnity that announces the death of the song.

5. Memento Mori IV: Ascension:

A melancholic and lonely guitar melody introduces this song. Memento Mori IV: Ascension, delivers a feeling of pessimism and nostalgia from the first moment of be heard, and accompanies us throughout the song, without being overwhelmed. The vocal work reintegrates the scraped voice, this time starring in a large number of the verses, only with small guttural interventions, to further enhance this characteristic. A song with a rather existentialist and surreal thematic, an aspect reaffirmed in verses such as "Where my nihilist heavens will become water in the deserts of the existence, shining like a pyre for the pathetic desire to live" recited in a clean voice prior to the consummation of the song; epilogue, in which the musical speed and tension is increasing with the drum beat, until achieving a blast beat adorned with fast flourishes on a solid guitar riff that maintains that nostalgic and choleric density of the song; as if we were going to contemplate our own death, and with it, the loss of everything we represent someday.

6. A la Espera de la Oscuridad:

This track, more than a song, is a tribute to the cursed poet Alejandra Pizarnik who committed suicide in 1972. The band recites to us in a solemn, contemplative and dark way one of their most interesting poems.

This is the link written:


The culmination of this album, complementing and ending the same funeral and sepulchral environment achieved at the opening of the album.  

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