Occultation – Silence in the Ancestral House

Oct 6 • Reviews, The Slumbering Ent • 4531 Views • 2 Comments on Occultation – Silence in the Ancestral House

Anoop Bhat reviews the latest LP from Occultation titled Silence in the Ancestral House, released via Profound Lore Records / Invictus Productions.

The absolutely gorgeous artwork by Adam Burke (Nightjar Illustration)

Like it or not, retro-metal is a thing. This particular bunch of ’70s proto-metal revivalists from New York joined the movement in 2012 but this is my first time listening to them. What really caught my eye is the excellent Adam Burke artwork, a painting that has a lot going on and has a story to tell.

Apart from the usual slew of influences that dominates this template, what perhaps gives this band an edge is that it borrows a good deal from Black Hole’s brand of doom that dabbles in Italian prog-rock, the kind that was heavy, dark and grand. An interesting direction, I’d say, but not fully realized.

The album takes off in fine fashion with a delicate intro piece which would’ve made a great Dario Argento movie score. ‘The First of the Last’ is basically a Candlemass song, soaked in the drama and ominous character of Mercyful Fate – a decent opener. By now it is clear how highly the band regards atmosphere – it is lush, it is eerie, it is echoey and it is loud. ‘Laughter in the Halls of Madness’ begins with thisalmost hypnotic riff which builds steadily until the organ takes over and makes it its own. That’s as interesting as it gets. From there on the album is marred by plentiful references to early-Sabbath, the occasional organ takeover and some unrealized opportunities. What really saves the album is the 8+ minute epic closer – a song the band can call its own. This song sees the band bring together all its influences in great revelry and harmony. Edward Miller (of Negative Plane fame) really shines on this one.

The music is evil,glorious and direful enough to lend the album that occult vibe. I can understand the kind of cacophonous horror arrangement the band is going for but one can’t let that shadow the song-writing, which here is affected by the garish production. The guitar is unnecessarily loud, the organ segments are overbearing, AnnuaLilja’s terse bass-playing doesn’t get enough room and the soaring, choir-like vocal-lines are sometimes all over the place.

What the album ends up being is a mishmash of a few good& some not-so-good ideas, with very little to offer. The band has found its niche, one that can help entrench their identity, but sadlythat alone won’t cut it.

RATING : 2.5/5 (This metal firmament is infested with screeds no better nor worse than this one.)

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