Band:	Wędrujący Wiatr
Album:	Tam, Gdzie Miesiąc Opłakuje Świt
Style:	Atmospheric black metal, Folk black metal
Release date:	June 15, 2013
Guest review by:	brimarsh

01. Wędrujący Wiatr
02. Tam, Gdzie Miesiąc Opłakuje Świt...
03. ...A Nurów Krzyk Wiatr Na Skrzydłach Nocy Niesie
04. Wędrowiec Wyciąga Starczą Dłoń W Stronę Gwiazd
05. W Srebrnej Łunie, Pośród Chłodów Nocy

To define what constitutes an album to be the greatest of its kind could be a thesis in and of itself. In the essence of efficiency and efficacy on subject matter vast enough to elicit prolixity, we will leave those analyses to the academics. We as fans of a music genre exist through individuality. From the most esteemed critic, to the most aggressive and grammatically-challenged forumite, to a fanbase as a collective entity: there is no authoritarian figure(s) in a music scene whose opinion serves as law. The best that we can do individually, as one who would assume the stance of a critic, is to accept our objective subjectivity. We will never sway the entirety and our predilections will never become irrefutable facts. We can, however, afford a bit of validity to our convictions by accepting the aforementioned inevitability and presenting ourselves with dignity.

Atmospheric black metal, whilst being a sub-genre containing an identifier to distinguish itself from the orthodox, provides us with an idea that's only marginally less ambiguous than if its prefix were omitted entirely. "Atmospheric" does not necessarily describe the sound, nor does it indicate the influence(s) the music may draw from. It's an umbrella term that encompasses more than it omits; and so to properly convey the claim this review seeks to assert, it is important to make a few distinctions within for the sake of clarity.

Wędrujący Wiatr, at their core, draw great influence from the Earth in its most primitive state. Their thematics revel in naturistic lyrical content (as observed through crude Polish-to-English translation), heavy incorporations of wilderness field recordings, and an emphasis on folksy instrumentation through sparse and subdued acoustic passages. While I would not speak of them as definitively "Cascadian black metal" (Wolves In The Throne Room) or "Slavic black metal" (Drudkh), their atmosphere, sound, and compositions bear striking similarities to the two and are far more akin to the aforementioned than they are to other darker or ambient atmospheric black metal acts such as, say, Burzum or Darkspace?and so all critiques will be asserted and assumed within those parameters.

Being their debut release, Tam, Gdzie Miesiąc Opłakuje Świt demanded a certain level of praise immediately. It is rare that we see a band so solemnly define themselves upon their freshman release, especially without as much as a precursory demo. Rarer still is it that we see this sort of self-established prestige within the first few minutes of an inaugural release. The eponymous opening piece greets us with an entirely acoustic folk passage deeply reminiscent of Scandinavian neo-folk artistry before it slowly fades into what serves as the album's title track?a monolithic display of grandiose black metal. I do not apply "grandiose" with negative connotations as there is nothing inherently flashy nor pompous in the duo's songwriting or performances. The instrumentation throughout is aptly worked and refrains from showcasing performative ability, but rather it sees itself focus on invoking a sense of splendor and awe that is poignantly shrouded in a primitive production that sounds more like a memory than a recording. Driving harmonic rhythms lie below soaring, deeply melodic tremolo-picked leads that pierce through a rumbling fog of forestsound, ambient synth, and the muted ricketing of beats and blasts. Feral roars teem with emotion and conviction as though they were meant to be cradled by the canopy of trees to echo through ages to come. Folky acoustic passages are scattered sparsely through the album's duration and are executed tastefully to provide a sobering sense of clarity amid a disarmingly emotional journey. Stripped down to rudiments, these sections serve as moments of pensive calm; strummed and fingerpicked acoustic guitars harmonize over the percussion of crackling fire and wind-jostled trees as the fauna answer the cry of primordial man, only to be once again swept away into the resplendence of the ancient forests, looming mountains, and the melodious soundscapes they inspire.

To assert the claim that a particular piece of artistry is the pinnacle of its kind?triumphing over peer and predecessor?is an arduous task that sees itself fit to be approached with a certain level of diligence and doubt, and I take great care in how I approach such claims. I do not believe that we can draw meritorious resolutions from an emotional, knee jerk reaction; we must not let our initial reactionary impressions take precedence to our pre-establishments. Though I am merely hours into the process of typing, this review is the byproduct of seven years of careful & constant consideration, comparison, and interpretation. And the convergence of these ideas has alluded to my stark conclusion.

Nature's existence is innate. It is the emanation of a molecular understanding and self-awareness?the unchallenged motions of Mother Earth's unspoken dictation. It is the marvel of unperturbed creation, free from external impedance. Though we look upon it with awe and wonder, it exists not to please; it is an homage to the cosmic equilibrium through which it came to be. This is its fundamental truth, and it is the truth by which Wędrujący Wiatr abides. The Earth tells its tale and they listen. They seek not to control, nor deviate; they do not dilute, nor pollute. Their adherence to essence is unequivocal and they perform with uncontested perfection. Should humankind ever capture Earth's cosmic vibrations and translate them through instruments of modern music, it would?with absolute certainty?be the echoings of Tam, Gdzie Miesiąc Opłakuje Świt.