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Doom/sludge metal has to be one of the most unique sounds out there in this world of chaos. It includes elongated instrumentals, grimy vocals, and of course a brutal delivery. The band I Klatus is easily able to use these elements in their music, as well as adding many well structured synthesized instrumental breaks, and vocals, to build up a trance-like state in the listener as the album guides one through feelings of mysticism and the abyss.
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“Tom Denney is the primary soothsayer behind I KLATUS. Denney, whose background is steeped in the visual arts, has provided artwork and monsters for a laundry list of signed metal acts in the community (KYLESA, BLACK COBRA, SAMOTHRACE, CANNIBAL CORPSE, CEPHALIC CARNAGE and RWAKE just to name a few). His guitar squalls hard against the shores of this stoner metal effort, but also manages to rise above the storm in melodic hymns. Denney trades growling vocals with bass player, John E. Bomher, Jr. (BURY THE MACHINES, YAKUZA), who keeps things grinding nicely, while also providing some sweeter tones when they let songs open up and sweep across more ethereal planes.”
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Their newly anticipated album “Nagual Sun” was self-released on October 13th. Included in the album are 8 full-length tracks, each one seeming to be better than the last.
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“Beneath the Waves” starts off the album with an elongated instrumental opening, and then kicks into gear with their slow grimy vocals. This track includes varied tempo changes and a couple of synthesized vocal breaks, which really makes one feel like their travelling throughout an ethereal plane.The next track “Serpent Cults” continues the album with another awesome intro. What makes it so awesome are all of the different synthesized guitar rhythms interlaced with various sound effects, which makes all of their instrumental parts extremely interesting. This song seems to have more punk influenced clean vocals, but it fits perfectly since it has very unique sound to it. “Sorcerer’s Gaze” takes the listener into yet another trance-like moment with their instrumental opening and then slow delivery of raspy vocals. All hell breaks loose as they then transition into a fast pace with high pitched growls. “Moment of Devastation” is much the same, but changes it up a bit by having a slight break in the song with echoed whisper vocals. The next track “The Alivist” starts off with another slow tempo opener, but is more heavily drum based. Most of the vocals for this song are elongated guttural growls, but with some raspy vocals thrown in intermittently. “The drums are championed by Chris Wozniak (LAIR OF THE MINOTAUR, EARTHEN GRAVE, SERPENT CROWN) who metes out doom in guttural timing. Wozniak just pounds and pounds, hitting that sonic-pocket, which gives the stoner/doom genre its feeling of lift and expansiveness.”
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“Jaws of the Shark” gets right to the freaking point, as it starts off pretty much right away with elongated guitar riffs and grimy guttural growls. This song stands out the most to me because of the bizarre crunchy guitar riffs they use in it, and an echoing of a good part of the vocals, which really beefs up the song altogether. Underwater effects finish off the song, which is extremely fitting with the title “Jaws of the Shark”. “Some noises and textures by former member, Robert Bauwens, are also tucked into the nooks and crannies of these tracks.”
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“Father John Thomas (The Penitent)” is relatively short to the rest of the album and consists solely of bizarre guitar effects and a sole Preacher speaking to a crowd, which once again puts the listener in a trance-like state. The final track on the album is titled “Final Communion”. The slow build of the entirety of the song makes this work extremely well as an ending track. The structure is so perfect for this album that the outro even seems to mirror the intro of the opening track.
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This album ended up being a trip to listen to, and I enjoyed every single damn minute of it. The backbone of this album for me are all of the effects done on their vocals and instruments, the well structured instrumental breaks, and the overall feeling this album starts to veil on the listener.
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