Does anyone know the old horror-movie “Poltergeist”?
Listening to Weeping Choir is like the iconic scene in which a little child sits in front of the TV with only the static on. She stares at it and when questioned why, she says: “They are here”. Now imagine the following on top of that:
The TV-volume is at MAX, every few minutes the TV goes silent and dark for a milisecond and then full volume again.
Music like this makes you want to push rusty nails into the eyes of a baby-koala or punch a dolphin in its breathing hole. It is not for everyone to say the least.
Weeping Choir is the mucial sequel to Trumpeting Ecstasy. This means abrasive music with occasional creepy breaks and A LOT OF blasting. Once again produced by Kurt Ballou (member of Converge and producer of nearly every great hardcore record of the decade) this album sounds as thick and rusty as you would’ve hoped.
The thing about nearly every Grindcore album is that it sometimes is hard to distinguish the songs from one another, but I’ll try my best to list some highlights. “Burning Myrrh” and “Armory of Obsidian Glass” (the longest and most divere song on this) are clearly my favorites on this record. “Aria of Jeweled Tears” and “Silmaril” are Full of Hell at their finest too. “Rainbow Coil” is an interlude which you could also find on one of the collaboration records with The Body.
The second half of the album is like looking into a firework battery: you don’t know which effect will hit you, but it is still fascinating to see. “Angels Gather Here” is a sludgy affair, while “Ygramul the Many” and “Cellar of Doors” are a very fast-paced combo to end the album, which is fun (if this word can be used in this genre) to listen to and is a worthy follow-up to Trumpeting Ecstasy.
★ ★ ★ ★ ★ ★ ★ ☆ ☆ ☆
7 / 10
As usual, we added the two favorite tracks to our Transcended Review Playlist