Lautreamont

Review: Lautreamont – Silence of the Deceased

Russian trio Lautreamont were brought to life to assault the senses, striking the listener continuously with discordant walls of pandemonium and persecution. “Evil” causes this immediate impact with extremely huge basslines and hypnotizing strident guitars before breaking. The instruments almost decline, slipping away delicately into descent before launching an avalanche of dissonant guitars and a frenzied attack of blast beats, signalling a chaotic finish. If there was ever an assertion of what Lautreamont are about this first track is surely that.

Silence of the Deceased

“Father” may be a more brutal and destructive track. Moments shatter into an uneasy state whilst others fall into a decay where its nothingness consumes your very being. Lautreamont have showcased an adept mastery of the sickening malady that this genre elicits, packing on layer upon layer of abhorrence, neurosis, and absolute cruelty as is further explored in tracks such as the title song. The unendurable pressure of its soundscapes is at times unfathomable. A song-by-song dissection is of no use, as each song displayed here pursues the same code of sweeping disarray, assembled to be music that demands to be swallowed as a whole.

Whilst not the most severe in spatial terms the drumming by Vladimir Fomenko on “Silence of the Deceased” is near perfect. Lautreamont play smartly, often settling on for ear-shattering cannonade of noise rather than counting on the blast beat to strike desolation.

The sound of “Silence of the Deceased” simply destroys; the mix is completed with as much intricacy as can be absorbed. Lautreamont can take you into contemplation and then let you down in your own decay in just a few seconds. This is intelligent metal.

“Silence of the Deceased” is out on May 7th; pre-order it here.