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Released on January 15, 2016 via Relapse Records
Lycus offer up the follow up to the vast and catastrophically heavy Tempest, a grand example of funeral doom at its heaviest and most mood-setting. The band had established themselves with only a couple of releases, and are now showing just how powerful a presence they can be within the genre by releasing Chasms on Relapse Records.
What caught me off guard with this band is their ability to transition between the glacial pace of their music and atmosphere into flurries of straight black metal style passages. Chasms is so far the best demonstration of this interchangeable and unique song writing, thus engaging the listener at every shadowy turn.
This increase in pace introduces ‘Solar Chamber’, a beginning that is nothing far from instrumentally stunning, yet still evokes the sensation of despair as if physically entering this chasm. The band then hammer through the doom moments in ceremonial fashion with bellowed chants and guttural mantra. The band burst into the first black metal bludgeoning, the drums hit a break neck speed that is purely jarring when compared to the slow moments, yet it still flows magnificently. The track thunders on, blast beats make more appearances whilst the guitars slither and wail above the mix. With all the instrumentation and suffocation production combined, it’s hard to deny this as an incredible start to this four-part colossus.
The title track is the album’s pinnacle, the mystifying introduction features cello which laces effortlessly into the drums and guitar. The ability this band has to simply create atmosphere alone is just immense; as the legendary Paolo Girardi encapsulates on the albums cover, the listener is dragged into this underbelly, a swamp-like scape that is as terrifying as it is alluring. The track slams into a full on doom ritual, guitars blare and growl forging ethereal tension then gradually transitioning into a mid-paced charge as the vocals soar overhead. This track just doesn’t fall short; enough changes and details in the composition allow it to be the longest track yet the most memorable.
The final excursion into the darkness is carried out with ‘Mirage’ and ‘Obsidian Eyes’. Continuing perfectly on from ‘Chasms’, ‘Mirage’ is almost orchestral in craft, slow passages brings the cello in to emphasize the sombre and blackened feel to the track. The rapid drumming and guitar barrage hits again as the track climaxes, mutating into ‘Obsidian Eyes’, a monolith that leaves the lasting impression of Chasms; one that is dark and all encompassing, whatever Lycus wanted you to experience does not wear off throughout. This track drowns you in the depths one more time, the interchanging drums pound around you and the melodies of utter sorrow continue to block out the sun.
This project is intriguing as it is well played and composed. Progressions and melodies may grow ever so slightly redundant at times, but nowhere near enough to damage the effect this album brings to the listener. Lycus have set themselves on a path and transcended their previous work, Chasms is an impressive record that will isolate, transport and destroy just as doom metal should.
