Zoloft Evra - Murder Chamber flac album

Original: ConcreteWeb ( http://www.concreteweb.be/reviews/zoloft-evra )As you do know (or not, but then you will as from now on, so keep reading), Frozen Light are a label with many aural angles, yet always with ‘obscurity’ in mind. Of course, it is not different for this third recording by Italian act Zoloft Evra. A first acquaintance was in 2015, with Negative Infliction Pleasure (Naked Lunch Records & Signora Ward Records), followed by the three-track EP Self Destructive Comfort (Luce Sia, 2016, a split with Italian colleagues of Djinn). Later that very same year, Frozen Light released the second full length, Murder Chamber (which this review will deal with), and at the end of spring 2017, they returned with the compilation-EP Hypoxyphilia via Marbre Negre.Murder Chamber was recorded in Italy, Norway and the U.S. of A. during winter 2016, and mixed and mastered eventually in Rome, at the Negative Propaganda Studio. The main recordings were done by Adriano ‘ZC’ Vincenti (drones & synths) (who’s also known from his projects Macelleria Mobile di Mezzanotte and Cronaca Nera, and from his nylon-based Noise-label Signora Ward Records), Manuel ‘Cold’ Mazzenga (sharp razor guitars, also mix + mastering) (involved with e.g. Nocturnal Degrade, Der Noir or Scent Of Silence), and Apolokia’s Blackfrost (ritual voices and artwork design). They have been assisted by some guests, but I will come back to this immediately. Oh yes, it came in an edition of 300 copies only, so pay attention!In the vein of the debut full length, Murder Chamber goes on in a very twisted, disturbing, sick-making way. The description ‘Negative Drone Ambient / Death Industrial’ has not been chosen by coincidence, but it deeply reveals the nasty, perverted concept. The opener Razors Deepthroat (yes, the name already explains the sadistic approach) starts with somewhat mesmerizing drones, gloomy and ominous, even Lovecraftian in attitude. Obscure noises and eerie soundscapes are collected to create a sinister, haunting wall of sound. After two minutes, things turn, step by step, darker, when everything gets penetrated with more uncomfortable noises and samples. And when the lady (Caitlin Dituro) starts to moan – you know, passion, pleasure and pain – the climax isn’t but sonically orgiastic. This track, FYI, features additional synths by Cory Rowell (of Demonologists / Harko City fame). Next comes the title track, which starts in a less oppressive way, without losing that abyssally obscure character. It rather reminds me of an extremely blackened form of Dark Ambient. Darkly whispered voices join in, followed by many layers of ferocious noises and discordant razor-sharp guitar torture. Waw, what a hypnotic creation this is, permanently attracting and repelling at the same time. Krokodil Death Ride opens almost meditative, but soon the ritual transforms into a soundtrack for a sadistic drug-ceremony. Delving deep into this piece, a suffocative atmosphere will overwhelm you mercilessly, and in a masochistic manner it is so addictive to be obedient to this sonic perversion. Nice are the many vocal samples, sometimes spoken (so cool at the end), then again summoning a malign spirit. Hypnotic guitars and anxious yet combative vocals (by Tenebra from Dreariness) are the basic essence of Deadlife Obedience. My dearest Tenebra surely is a surplus on this composition, for she spawns an extended scala of negative emotions (fear, hatred, suicidal thoughts, anger, despair and disgust, I hear them all…). Cold Hypnotic Bloodbath comes with an eerie and post-apocalyptic sound, based on many synth layers, evil whispers and dark-industrialised sound collages. This is an extremely spooky and mesmerising piece of Dark Aural Art, at the same time very minimalistic and nihilistic, as well as rich and ‘full’ in expression. The bewitching atmosphere is breath-taking in a negative sense, like an overdose of masochistic lust. Great. The album ends with The Screaming Wall, based on distorted soundscapes and floating waves of claustrophobic spells and reverbed-sounding rituals. It might be the most Ambient-oriented Drone-work on the album, and a perfect ‘outro’ for one of the best albums within this specific genre!For fans of stuff à la Körperwelten, Testphasen Negativ, Steel Hook Prostheses and Stromstad, or even Emme Ya, Khost, earlier Atrium Carceri, Satanismo Calibro 9, MZ.412, Swartalf, Psychonaut 75 and Climax Denial! The ideal soundtrack to enjoy in a torture / murder chamber…Ivan Tibos.90/100

Original: Traumatic Static ( http://traumaticstaticwebzine.blogspot.ru/2017/01/review-zoloft-evra-murder-chamber-cd.html )Today we will be diving into the smeared depths of ZOLOFT EVRA. A project formed in 2014 by ZC with the intention of creating suicidal atmospheres and dark depressive voids to dwell within. With the addition of two more members; (Cold/Blackfrost) ZOLOFT EVRA (Who's members are located in Rome and Norway.) have created a realm that contains the knowledge, Perspective and most importantly, The musical skill, Of people who have been around and know how to craft dark underground soundscapes. A cold, Obscure and clinical sound centered around pure negativity. ZOLOFT EVRA explore and embrace subjects such as: Sadism (Human cruelty in general,) Drug abuse, Death cults, Perverse and murderous activities, Etc.) In 2015, Naked Lunch Records released ZOLOFT EVRA's debut album: "Negative Infliction Pleasure" as a six panel digipack limited to 500 copies which was followed by a pro cassette re-issue of the same album through Signora Ward Records which gave fans and collectors the option of owning it on another format, although at ninety nine copies it was a much more limited run. Next we were offered a split cassette with DJINN released via Swiss label: Luce Sia. The split was titled: "Self Destructive Comfort" and was issued in a run of sixty hand-numbered copies. Finally the world got another full length dose of pure audio misery when Russian label: Frozen Light, Released "Murder Chamber" in November, 2016. A few compilation tracks saw light in between longer releases but it wasn't until "Murder Chamber" that I got to really dive into ZOLOFT EVRA's stunning sound, Which they refer to as:"Negative Drone Ambient." I'd say that's my kind of party.I.) RAZORS DEEPTHROAT:(FEATURING ADDITIONAL DRONES BY CORY ROWELL OF "DEMONOLOGISTS" AND VOCALS BY CAITLIN DITURO)We get off to a very strong start with album opener "Razors Deepthroat." To make things even better the track features additional drones by Cory Rowell of DEMONOLOGISTS (Who I've long been a fan of) and excellent female vocals by a woman by the name of Caitlin Dituro...Although her name is not familiar to me, I will say that ZOLOFT EVRA seem to have a pretty good idea of who they'd have the most success collaborating with as is apparent here. Abandoned industrial complex ambient sweeps in. Spiraling electronic textures settle like dust as subteranean drones pool and move in slow waves. This is music that carries strong feelings of isolation, Hostility, And negativity in general. Cold, Sinister and murderous. The drones begin to move like quiet dark water as winds pick up and barriers swell...This creates unsettling sub-bass vibrations that pull us into harsher and more caustic territory. A clinical machine hum is heard vibrating in warm radiance and resonance. Creaking metallic scraping sounds follow...These sound like a large rusted hoist of some sort struggling against the weight of it's cargo and it's own failing screws and bolts. Frighteningly spectral Dark Ambient soundscapes are also present among the wreckage. The sonic combination of sounds representing so much depression and negativity can be sensory overload if not constructed carefully, Luckily ZOLOFT EVRA have control over their deliberately crafted chaos. Painfully stretched drones, Foggy ambient walls, Wailing slowed down choirs ,Choked sounds that mimic inhuman growls and agitated wraiths...There is much trauma to behold. The vocals are quite buried. Haunting wails and moans that drift through the onslaught of horror around us. Charred static blasts and resonant bass finish track one.II.) MURDER CHAMBER:Title track "Murder Chamber" starts with cold synth ambient. Lo-fi tones that hum and linger. Melancholic and meditative. Whispered vocals come as hissed chants that add an occult/ritualistic feel to the piece. Static winds hiss like extended steam bursts as melodic feedback rises. Soon after we are hit with churning Drone/Doom riffs. A vortex forms. Phaser effects on guitar experimentation that makes a blistering rift of sound. The vocals seem to become more malevolent as time goes on. Delivering incantations against a brooding Death Ambient storm. Mournful melodies are hidden within the static that add a blood-stained and anguished passion to ZOLOFT EVRA's sound. Dense and heavy in all the right ways.III.) KROKODIL DEATH RIDE:Our next death ride comes as a plodding funeral march along windswept graveyard atmospheres and ritual devotee chants/moans. Minimal and ceremonial. Obscured/muffled mechanical Death Industrial elements are heard clattering in the distance, Adding a cinematic purity to this raw expression of emotional pain and trauma. Great art is often born of suffering. Ringing waves arise with dreary drones and spoken samples concerning drug abuse. What was once eerie whispers has become dry throat Black Metal style rasps. Dense kick drums hammer down at the pace of decay. Incantations in a foreign tongue are heard along with ceremonial grave calls. Tribal ritualism meets experimental blackness. This has the atmosphere of a forsaken place. Like a cave where countless ritual slaughters were carried out...A place that reeks of blood and resin. The pacing is perfect and greatly amplifies the effect music centered around such themes can have on the listener. Pick your poison and let this one paint your visions black.IV.) DEADLIFE OBEDIENCE:(FEATURING VOCALS BY TENEBRA OF "DREARINESS")This is my personal favorite on the album. Scorched static intro followed by a haunting melodic haze. Pure depression is channeled into clean electric guitar with beautiful chorus effects. Doomy bass/riffs crawl as nostalgic feelings take hold. I haven't heard anyone utilize this guitar sound/style this well in a primarily Death Industrial song before. The guitars here have a sound that sits somewhere between early Trad-Goth/Post-Punk and U.K. Doom/Dark Metal... Similar to the guitar style heard on KATATONIA's "Discouraged Ones" album from 1998. Anyways, It's not often that I hear this guitar sound on a modern release...Let alone one outside of the usual genres that use that sort of thing. The vocals here are gorgeous and swelling with emotion. Agonized female operatic notes and manic depressive screams. True torment and sadness. Death Industrial/Ambient/Noise that takes the D.S.B.M. aesthetic and uses it to paint a portrait of pain with in gritty clarity and tragic beauty. Moody synths and a darkened ethereal atmosphere add additional Goth-Rock elements in a way I've simply not really heard before...Not with Death Industrial at least...Not like this...Kind of like early DIAMANDA GALAS meets XASTHUR with hints of DEATHSTENCH for good measure. Music for rainy days and attempted suicides.V.) COLD HYPNOTIC BLOODBATH:Anytime a track title or song description features the words "Cold" or "Hypnotic" it peaks my curiosity pretty instantly...Curiosity killed the cat and it sounds like I've just stepped beyond the veil into a realm of death as well...Seven minutes in the land of the breathless. This is total death indulgence. Deep rich ambiance, Shifting distant landslides and steaming fissures, Surreal glassy tones and vibrations...Whispered calls beckon the listener to go further and further into ZOLOFT EVRA's spiraling dimension of shadows and daggers. Reversed tribal drum patterns, Corroded static textures, Humming bass drone resonance...Dark and spiritual material that weaves like fog or smoke. A fractured form manifesting within an immeasurable void. Waste and ash as tools of sonic expression. A tranquil outro sinks in it's talons and lulls us with it's poison bite...We drift into the closer. VI.) THE SCREAMING WALL:We end it all kicking and screaming as "The Screaming Wall" arrives before us. Phased out otherworldly atmospheres are conjured forth. Cascading static and ambiance blend into a hazy current that slowly collects and spirals. The phasers add additional movement and the sense of a pace as reversed patterns flicker by and pulsing sub-bass drones help to carry things forward into abyssal nothingness. We shift into another movement where a swell of crushing emotive synth strings are heard playing a deep and mournful arrangement as harsh winter storms blow in as powerful static gusts. Feelings that come with isolation, Loneliness, Depression and other mental disorders are quite difficult to properly/effectively express in music. ZOLOFT EVRA is one of the rare acts that make it seem easy. Ringing lead notes hang in the air like clinging ghosts as harsh tidal/winter atmospheres complete their stay. Solid endingZOLOFT EVRA HAVE THE IMPRESSIVE ABILITY TO CRAFT MUSIC CENTERED AROUND REAL LIFE DARKNESS THAT FEW POSSESS. MURDER CHAMBER IS A TRULY GRIPPING RELEASES:8/10-ABATTOIR-

Original: Vital Weekly ( http://www.vitalweekly.net/1059.html )It's not easy to pin down the releases by Russia's Frozen Light. I enjoy what they do, that is, most of the times, but sometimes their music is all about too obscure for me; or perhaps hinting at something that I simply don't 'get'. Zoloft Evra is a trio of ZC (drones, synths, noise), Cold (sharp razor guitars) and Blackfrost (ritual voices) and there are guest appearances by Cory Rowell and Tenebra. The label informs us that this new release 'follows the obscure, cruel, sadistic and perverse path already started with the debut album "Negative Infliction Pleasure", presenting an evolution in the suicidal and asphyxiating drone overall sound and atmosphere. Asphyxiating is perhaps something that this music aims to do to the listener. The music is closed off from the world, with much reverb on the voice that would otherwise also sound like a tormented soul anyway, guitar strum away on end and everything is very dark. It is loud, though not necessarily rooted in the world of noise for the sake of noise, and there is a hint or two (three) towards something magickal, if you care to believe such things of course. This is one of those things I play with interest; scratch my head a couple of times and write words to that effect and think 'well, you know, it is not really bad or good, I can surely see something that I like in here, but just as well it is something that I can live without' and I am sure that is not enough. (FdW)