Tomb by the seanamed after the eponymous Poe-m, is a Bristol-based one-man project led by Ashley Shannon that has released a demo, an EP and a full-length album since its formation in 2019. Sitting on the border between Post-Black and Atmospheric Black Metal, Seven chambers tries to distinguish its moods, with each of the seven tracks represented by a color. At once raw and merciless, shimmering melodies and synths shower the proceedings with a patience that is reminiscent of envy or So disgusting. Ultimately Tomb by the sea References to size with Seven chambers but is hindered by bloat and made difficult by crudeness.
Seven chambers is less of a sonic reflection of Poe’s work than it first appears. Tomb by the sea opts for a far more optimistic post-rock template that reflects yearning rather than horror. This thread runs through its seven movements: three long black metal tracks, three instrumentals and an acoustic closer. “Purple Pestilence,” “Orange Opulence,” and “Violet Visions” are tasteful post-black affairs, the guitar tone is rough and grungy, the thumping bass is audible and more melodic pieces can rise above the biting repetition. Shannon uses repetition well, as the backing vocals complement the yearning baritone he displays on the acoustic closer “Scarlet Dreams,” the morphing melody of “Purple Pestilence,” and the reverb-laden guitar overlays of “Orange Opulence.” Movements are a crucial part of Seven chambersas metallic tracks morph from blackened sections to jerky death metal and melodic sprawls, with growling bass snaking tastefully through all of them, with transitions anchoring them firmly. Shannon’s vocals rely more on a fiery, moralizing bark than the traditional screech, which is better, lending an intensity found in the more aggressive yes-men of post-black, like Above or Decline of the ego. Tomb by the sea benefits from its rawer and self-released nature with a more merciless edge, enhanced by ambient noise and rich bass that recalls both the KVLT history of black metal and the more traditional, crystal-clear melody one expects from post-black or blackgaze.
Tomb by the seaThe most noticeable problem with are the instrumentals and their long length. While the opener “Blue Hubris” sets the two-part tone with a tasteful crescendo of piano, blast beats and tremolo, “Green Bath” and “White Death” are far too long to enrich the tone and instead feel like four minutes of wandering plucking with insufficient dynamics. While Shannon gets the movements and transitions right, the rawer template still robs the seamlessness with somewhat jerky transitions, especially in “Purple Pestilence” between stronger notes or the melodic middle section to the jerky conclusion of “Orange Opulence”. The more organ-like atmosphere of “Violet Visions” feels like a stark departure. skepticism territory, colliding. While the raw nature Seven chambers Frankly, the more melodic parts clash with the macabre atmosphere of the source material. This is petty at best, but Poe’s works are often sonically captured in darker or more gothic styles such as symphonic black or death metal. Post-black is an odd choice for the source material, although Tomb by the sea does well, for what it’s worth.
Tomb by the seaThe only glaring weakness is also its greatest strength: its rawness. While it gives the whole thing a heavier edge rarely seen in this particularly traditionally upbeat style, it also makes the series of movements seem rather haphazardly pieced together. The sonic differences created by Shannon’s songwriting are unique, the performances are solid throughout, and each instrument is audible and challenging in its own way. Since the rawness is both a blessing and a curse, we land right in the middle. Seven chambers is not boring and its creator is at least full of spectacular promises.
Reviews: 2.5/5.0
DR: 9 | Verified format: PCM
label: Self-published
website: facebook.com/sepulchrebytheseamusic | sepulchrebythesea.bandcamp.com
Worldwide publications: 2 August 2024
