Kypck - 3epo review
|Release date:||September 2016|
01. Я свободен
03. Мне отмщение
04. Прогулка по Неве
05. На небе вижу я лицо
06. Моя жизнь
07. Последний тур
10. Белая смерть
With the color palette and subject of that cover, this could only be a Kypck album. With the ghostly echoes of a rattling train bookending the opening and closing tracks, this could only be a Kypck album. With these icy, foreboding riffs and military-style breakdowns, Зеро is a perfect example of a Kypck album.
Erkki Seppänen's coarse, filth-encrusted voice makes Kypck sound like the vehicle for a wizened storyteller who takes an almost vulgar delight in luring stray travelers to their doom. Even without grasping the exact message of the lyrics, the average listener can apprehend a pitiless, black humor emanating from the wells of despair and human misery that otherwise inform Kypck's music. The cruel, very modern, and very Soviet wretchedness of Kypck offers a bleak spin on the usual schools of classical horror, personal anguish, and natural decay practiced by most Doom Bards of the Wretched Domain. Several verses by the tragic poet Lermontov add a further poetic poignancy to Kypck's inexorable grind.
Зеро belongs to the same sonic fraternity as Имена на стене: not quite as deathly and enrapturing as Черно, but much loftier and more engaging than Ниже. Greatly though I love Kypck as a rule, I must admit some measure of disappointment in hearing no promise of a return to the style of Черно, which remains Kypck's heaviest, bleakest, and best recording to date. The subsequent trio of albums has arrived with rather more polish and a comparative dearth of raw drudgery, which has the effect of making Kypck sound a little less consuming and a little less menacing. Nonetheless, Зеро, like Имена На Стене before it, maintains such a standard of songwriting that the overall loss is minimal.
"Я Свободен" brings a strong open with a writhing, unnerving melody that calls to mind what is perhaps Kypck's greatest strength: the ability to write ear-catching tunes that are as grim and creepy as they are karaokeable. "Русофоб" is another fantastic example; it's so easy to sing along to, and yet so chilling, and being so saturated with spite and damnation, "Русофоб" is easily my favorite song on the album. The mournful "На Небе Вижу Я Лицо," clocking in at just over 11 minutes, is Kypck's longest song to date, and the song justifies its long running time, especially once guest vocalist Anna Jousne joins in to chant the dirge alongside Erkki Seppänen.
Kypck has always made frequent use of vocal layering, but Зеро steps up the concentration and even begins focusing more on harmonies. The best example of this is "Я Свободен," on which the effect is massive: not only does the twisting progression come alive with two voices singing in tandem, but the high-pitched wailing makes the song sound even more sinister. The depressive closer, "Белая Смерть," provides another example of Seppänen's surprisingly wide range. The rhythm section retains the incredible power unearthed on Имена На Стене; the ferocious pounding of drums and perpetuous droning of industrial-strength bass adds a lot to the atmosphere and boosts the impact of songs like "Мне Отмнщение."
My only criticism of Зеро, aside from the aforementioned fact that it isn't as raw as Черно, is that the album loses momentum in more places than Имена На Стене; there are fewer standout tracks and the album does drag occasionally. Even so, with such refined performances and a unique attitude, Kypck trudges along with as much ominous gloom as ever, defying the album's pessimistic title in quality if not in spirit.
||Written on 12.12.2016 by Reviewing since 2010. Reviewing competently since 2013. More metal than you since before the dawn of 'istry.|
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