Ewigkeit – DISClose
Death To Music
Release Date: Digital 23-02-2019 / CD 23-03-2019
Running Time: 43:02
Review by ‘Dark Juan’
James Fogarty – pretty much everything because he is one of those spectacularly talented people I am extremely jealous of (because I play guitar like a desperately flailing, drowning wombat) and want to kick in their collective balls. The bastards. How dare they.
Good afternoon, readers. My name is Dark Juan and I am here to tell you about heavy metal records. I used to do it for another website, but due to the unfortunate incident involving the busload of nuns, my penis, the bouncy castle, a candy floss machine, an inflatable mongoose, a combine harvester, several members of a number of different constabularies and the entire Berkshire Hunt I was asked politely to leave. Let’s just say the nuns and the Hunt were fucked in entirely different ways… Shall we crack on then?
DISClose is the eighth album from the quintessentially British (to wit: kooky as fuck) Ewigkeit. I have been a massive fan of Ewigkeit ever since I heard Strange Volk on the cover mount CD of a popular metal magazine, and on the strength of that, eagerly grabbed a copy of debut album Radio Ixtlan. James Fogarty has always been a singular songwriter and it was with considerable anticipation that I started to play DISClose. The album is a quasi-concept affair about the growth of modern UFOlogy and Fogarty’s belief in the fact that he thinks, “Aside from revelations about multiple exoplanets, the passing of massive interstellar object Oumuamua and revelations of the Pentagon’s Advanced Aerospace Threat Identification Program, there has also been the planned launch of the U.S. government’s ‘Space Force’. We are on the cusp of the official confirmation of intelligent Extraterrestrial life, perhaps of a form that is genuinely threatening to our own – and it is this hypothetical conflict that I wrote the song ‘Guardians of the High Frontier’ about.”
Thankfully, it remains that Ewigkeit are right up my musical street, baby. The music is experimental metal, with Fogarty employing either a rich, clean vocal delivery or the kind of razorwire, visceral scream that is always enjoyable while you bleed incessantly from the ears. Opening with a sample of a speech regarding UFOs, Ewigkeit then don’t waste much time before the electric alchemy of distorted guitar cuts in and we are going on a journey into the recesses of James’ mind with 1947. James writes some masterful lyrics and his music rewards repeated listens and careful attention to his words. Ewigkeit are not a massively speedy band. They employ melody and do not play fast metal. Ewigkeit are a band who has found a way to make their music breathe, and this turns it into something special instead of sheer brutality and nothing else. It still will have your face off at a hundred paces but it is more than just violence. It is the kind of targeted, specific violence that makes serial killers so terrifying. It’s charming and fun until it bites out your throat and grins at you with your blood running down its chin while the light fades from your eyes.
And that, my newfound, and doubtless now slightly concerned friends, is what Ewigkeit sound like. The standout songs on the record are the extraordinary Resonance, and the impossible to pronounce KRLLL. The album has something for all fans of metal – almost battle metal vocal harmonies, vocals that skirt black metal, solid bass work and drumming, excellent guitar playing with a tasty solo or two, experimentation (yeah, like the guy in that Re-Animator film. Look where that got us…) and a finely judged finger on the pulse of pomposity. It would have been so easy for this record to descend into farce because of its epic scale, but James reigns it all back in in notable fashion. A fine record by one of my favourite bands… Buy it. Dark Juan commands you, minions!
The Patented Dark Juan Blood Splat Rating System awards Ewigkeit a thoroughly bloodsoaked 8/10. The local plod also want a word with him about all the blood…
Guardians Of The High Frontier
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