So I have to admit that I’m really biased in this album review. It would be like if I met a redheaded girl, who was into art, had a nice ass, was super affectionate, was funny, and liked to go on spontaneous adventures. I would already be proposing, because I’m a weak and foolish man. So when a Russian record label contacts me, who makes dark synth music, composed of some punks and metal heads; I’m already a fan.
So to clarify, I have this sperg like fascination with Russia, it started around 2004/2005 with the release of Metal Gear Solid 3: Snake Eater, and Call of Duty 2 (specifically the Stalingrad campaign). I got super into Russia. From the Tsars, to the Soviet Union, to Putin, to Russian myths, Russian films, and then later as I got older into Russian literature.
Why I am so interested in Russia? I don’t know. Maybe because Russia is like microcosm of the rest of the world. Maybe because it’s history is so tragic. I have no idea.
Take for instance Dostoevsky’s Crime and Punishment, the first chapter has this brooding, feverish atmosphere that constantly has you on edge. All most any other book, or movie would be like, “Okay this is a little bit too heavy, let’s lighten the mood.” So in the next chapter when you meet this drunk at the bar, you think, “Oh this guy is going to be the comic relief.” No. He is not. This is a Russian novel. He then tells the saddest story that has ever been told, about how he married a women with tuberculosis, is living in poverty, got a job, lost it due to his drinking, which caused his daughter to become a prostitute, and his kids are starving. Mind you, this is only chapter 2 of a really long book.
I say all of this, because if anybody is going to make dark brooding music that is incredibly intense, it’s going to be a Russian. Fetch’s Careless Gods is an album that makes most dark synth bands look like edgy teenagers.
Take the first track, Iron Trees, already it hits you with this bomb drop of despair. The synths are so distorted–the ambient noise constantly has you on edge–it’s the sound equivalent of leaving a bomb shelter after an atomic war. The sound never really lets up on the despair, it never really gives you room to breathe, even the choir synths give this haunted atmosphere. Everything about this song is just perfect–it’s the sound I’ve been dying to hear.
The next track Careless Gods is so perfect. The guitars are fucking amazing. Like there is this played out idea that Darksynth, with it’s satanic imagery, has black metal influences. Which most of the time is nonsense, because the guitars literally sound like something you would hear from Poison. Think of all the black metal bands with their incredibly distorted guitars, do most darksynth band’s guitars sound anything like that? Not often. It sounds so polished, and so clean that it loses any of the darkness that they could have gained. Then there’s the synth which creates this eerie ambience, and it’s literally the best slasher movie music–for a movie that doesn’t exist–that I’ve ever heard. It’s so menacing and daunting. Then when you hear the samples and the brief bits of percussion it creates this cat and mouse kind of anxiety. Where you know there’s this menacing looming threat near you, yet you can’t escape it.
Sadly there is only two tracks on this album, I wish I could review more of the albums on this label and write more about it, but it would be a bit unfair to the other indie artists who are waiting for reviews. Yet I ENCOURAGE YOU to check out the rest of this label’s music. I am a sucker for this sound, and the dark gloomy atmosphere of this label’s aesthetic.
For being an album solely comprised of all things I like, I’m obviously going to give this album my recc.
Also as a bonus here is there music video which is so perfect, and it’s just scenes of them driving around Siberia. I mean come on, do you think I’m not going to love this?