Band:	The Ruins Of Beverast
Album:	Unlock The Shrine
Style:	Black metal
Release date:	August 03, 2004
A review by:	Lucas

01. Between Bronze Walls
02. Skeleton Coast
03. Euphoria When The Bombs Fell
04. God Sent No Sign
05. The Clockhand's Groaning Circles
06. Procession Of Pawns
07. Summer Decapitation Ritual
08. Cellartunes
09. Unlock The Shrine
10. Subterranean Homicide Lamentation
11. The Mine
12. White Abyss

From the ashes of the mighty, yet criminally underrated Nagelfar, rose the new one-man-project The Ruins Of Beverast. Musical mastermind and sole member Alexander Von Meilenwald had decided that he had nothing more to say with Nagelfar, and frankly, it was a good decision. Not only had he already released the brilliant "Srontgorrth", a highlight that cannot be reached once more anyway, but he also felt that it was time for a change in a style. Out with the bombastic Avant-Garde Black Metal filled with trumpet-tongued angels and apocalyptic electronics, in with a far more basic, dark and despairing type of Black Metal.

From the very first seconds of "Unlock The Shrine", a terrifying voice greets you with its laments. At once the haunting atmosphere is set. Seventy minutes of sheer terror and depression have started and there's no way you can escape now. My favourite aspect of the music, and the instrument on which the entire atmosphere is built on, is the guitar. There are some absolute fan-tas-tic riffs to be found on this album. Whether it are the circular saws ripping your throat open, the wailing leads or the sudden stops in "The Clockhand's Groaning Circles", they are all top-notch and worthy of every possibly praise.

His own past in Nagelfar can be clearly heard in "Summer Decapitation Ritual" and some of the eerie, ambient instrumentals that separate the 'normal' songs pay homage to the legacy of the mighty but forgotten legend. Furthermore, he also took the keyboards with him. These keyboards are clearly in the background and do their humble work. Thank god, there is at least someone alive who doesn't abuse his keyboards the common Dummy Burger keyboards style.

It must be concluded, Von Meilenwald is a pretty talented chap. He plays every instrument on this album, and he convinces with each of them. Vocalwise he has even grown out to be one of my favourites, for his great ability to shift between pained crying and incredibly impressive and overwhelming screams.

So what do I have to say about this album, apart from endless praise? The only point of criticism is that with its seventy minutes, it is a bit too long for my taste. It would have been better if Von Meilenwald would have cut off about ten minutes, despite most of the album being truly awesome. Seeing as that is pretty much the only point of criticism I have, that there is too much good music, you should be on your way to your nearest metalstore already..