Woods of Desolation, a project outfitted in Australia from the nearly anonymous D., delivers a formula of black metal within the scope of depressive-tinted expressions. Like the outlets of its number of contemporaries, the project is not limited to the lyrical themes as it is sharply detected throughout the conveyance of the instruments, atmosphere. The projects from Woods of Desolation have offered the sense of rawness and "reaching" that is funneled through intense percussion and the presence of solemn, yet dynamic electric guitar wailing.
Torn Beyond Reason is the recent full length album from Woods of Desolation, and it includes the aforementioned elements that many followers of black metal have acknowledged as fulfilling and enjoyable. With a short list of songs, Torn Beyond Reason's tracks offer a telling through their relatively lengthy playing. The parameters of the songs arguably give the familiar bitter taste of most recognizable black metal musics. Songs such as "Darker Days" release a melancholic streaming, which is given an ironic optimistic drumming for the listeners' careful interpretations. The album's only instrumental song, "November" is the shortest track; it opens with lighter acoustic strumming that seems to imply a lifting of spirits as low feelings stir below.
Other tracks are less dynamic in their showing as they can leave listeners inclined to solely absorb the atmosphere; in particular, this is demonstrated with the title track. Listeners familiar with Austere will find the Woods of Desolation Australian contemporary a holder of more direct despair and hurt channeled through the screaming. Another difference is that some of Austere's tracks includes a more melodious layering; Woods of Desolation relies more on the "stripped" appeal of black metal constructs.
With its consistent deliverance, Torn Beyond Reason seems fit for examining and entertaining dismal emotion through its dark performance. The production of the album is of a recognizable quality, which rises Woods of Desolation's "underground" status for distinct appeal within the depressive scope of black metal.
Other tracks are less dynamic in their showing as they can leave listeners inclined to solely absorb the atmosphere; in particular, this is demonstrated with the title track. Listeners familiar with Austere will find the Woods of Desolation Australian contemporary a holder of more direct despair and hurt channeled through the screaming. Another difference is that some of Austere's tracks includes a more melodious layering; Woods of Desolation relies more on the "stripped" appeal of black metal constructs.
With its consistent deliverance, Torn Beyond Reason seems fit for examining and entertaining dismal emotion through its dark performance. The production of the album is of a recognizable quality, which rises Woods of Desolation's "underground" status for distinct appeal within the depressive scope of black metal.
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