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Bohemyst – ‘Čerň a smrt’

Publisher
Independent Release
FFO
Black Therapy, Meadows End
Release Date
27/01/2021
Publisher
Independent Release
Genre
Black/Death Metal

There exist certain albums that even though its sound may dispel a malevolent tone to its candor, it intrigues your curiosity, for you wish to explore it’s realms, for it Is like tracing one’s finger upon the contours of a sculpture, as your flesh feels the cracks and lines, the indentation, you begin to ponder the artist’s emotions, what exactly was felt from whence it was conceived. ‘Čerň a smrt’ by Bohemyst is an album, in my opinion that uses sound in order to construct the very pillars, where the instruments become the architect to fashion a world that feels weathered and soaked in misanthropy.

Firstly, the production, it is rather appreciated of its crisp yet audible tonality that is employed upon the record, for it goes beyond the notion of letting the instrumentation variables be discerned, what is meant is that the quality chosen, besides allowing each individual instrument the ability to breathe clearly without seeming clustered, it also cloaks the atmosphere in a rather macabre aura. Take for instance, tracks such as ‘Čerň a smrt’ and ‘Na umrlčích prknech’, putting aside the prowess imbued upon the talent of the musical side, the production instead plays a pivotal role in becoming the very air that fills the nostrils of this beast, the very air that permeates and is absorbed by the listener, for it can be likened to scent of blood that perfumes the air as the wind catches it’s scent upon a midnight breeze, weaving a scenario so ptharthic in its essence that engrosses the listener’s senses.

It is one thing to have life and animation bestowed upon one’s art, for the very power to bring such words or images to life, while grand, it must also work in tangent to the body it serves, in this case with Bohemyst, the very brick and mortar that creates this obelisk is forged by both the strings and percussions, but the melodies that are expelled from such are not merely tunes to erect a foundation for this album, but instead the tempos that are churned forth do so in a motion that mimics the stages of emotional despair and rage. A track such as ‘Nekromantika’, exhibit a certain fluidity to its expulsion by both the guitars and drums, for the beauty of these arrangements are found in the slower, more ‘doom-like’ moments as well as the frenetic spiraling nuances. But the charm exists not just because the album displays a juxtaposition between these two extremities, for what is the purpose of painting a portrait that exudes rage if there exists no emotion behind that which births such art? This presents another highlight on the album, as these varying aspects feel not hollow but creates the illusion of it arriving from a mind that experiences the point between rage and sorrow, embodying such emotions into sound, transfiguring the journey into the composition that builds the experience felt by the listener.

The instrumentation combined with the production creates a world that feels worn-in, a world that entices the senses and allows the listener to project onto these melodies and patterns their own emotions, while this may seem like the pinnacle of the album, it is the very voice that makes such a ritualistic moment much more potent and visceral. The vocals unleashed upon ‘Čerň a smrt’ adds a touch of earnesty to its delivery, for throughout the album, it never feels like a voice that tries to mimic an aggressive demeanor, rather it fosters the illusion of a fragmented mind that has endured every negative emotion, a mind that spills itself forth in the form of these liturgies that are heard. In my opinion, the ability to grace such an atmospheric proportion of music, where it grants the listener the opportunity to intertwine into the very fabric woven by its sound, to feel like you are a voyager upon this journey…this is where the album’s zenith can be found. Bohemyst has taken the facets of Extreme Metal, extracting that which feels concentrated, as though the listener can almost exist within its architecture. It is this very reason why I would recommend this to any fan of atmospheric and engaging music.

“An album that ushers the listener into a world inhibited with atmospheric landscapes”
90

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