Die Verbannten Kinder Evas - _Dusk and Void Became Alive_
(Napalm Records, 2006)
by: Jeremy Ulrey (3.5 out of 10)
Despondent, indulgent, weepy, directionless -- one of the pitfalls of cheaper recording equipment in our contemporary era is the ability, the compulsion even, to record and release every whim and fancy that an artist decides they want to explore. "Run it up the flag pole and see who salutes", seems to be the motto. The upside is that it gives those artists that don't cater to the masses a chance to get their work out there without kowtowing to the whims of a sales-hungry A&R rep. The downside is that it encourages artists to spread their talents thin over a variety of disparate projects, quantity eclipsing quality, with the time that would have been spent further honing their main body of work to perfection instead distracted by the ego gratification of attempting to prove a greater depth and broadness of vision than the artist actually achieves.

_Dusk and Void Became Alive_ is the embodiment of that form of self-indulgence. It is the work of Richard Lederer, he of Summoning fame, and is about as rote and lacking in any real muse as it gets. It's well recorded, sure; no doubt it'd make a great addition to the portfolio when trying to earn a paycheck producing other bands. As a product intended for commercial consumption, however, it's suspect who the market really is for this material.

The album entire consists of nothing but droning keyboards with martial drum beats and ethereal female vocals layered dimly in the gauze-like haze of the miasmic background (Christ, the minimalism is such that it's impossible to even talk about it without overcompensating in description for the lack of actual substance). There is no progression to speak of; the album seemingly has no real destination or goal. It merely exists in a narcotic vacuum, steeped in pretension and fervent unease like a self-important sleeping pill.

The novelty of metal fans discovering the dark beauty of other strains of music, many of which feature operatic vocals and goth / industrial instrumental underpinnings, is long since (or at the very least becoming) a thing of the past. The cross-pollination of extreme music is now at its zenith, and the coma of complacency Die Verbannten Kinder Evas seek to perpetrate is no sort of wake up call; for this genre or any other.

Contact: http://www.dvke.info

(article published 8/3/2007)


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