SILUURIKAUDELLA

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This Pharaoh Overlord album carries a title referring to ancient visions of Silurian ages, but instead of trilobites the line-up of several guitars and a rhythm section craft more modern industrial meanings to this concept with their archaic and atonal sculptures of avant-gardist free rock visions. The epochs of this imaginary interpretation of quasi-ancestral history is divided to three ages, starting calmly with subtle string pickings preparing for the elevation of "Water Tower". Patient improvisations create intense feeling, bringing visions of water drips randomly running on huge concrete pillars on the light of dawn. I personally felt this autistic focusing for rhythmless exchanging of musical ideas as comforting alternative for the other records often dominated by heavy rock or stoner riff patterns. The motives are also flowing in pleasant logics, escaping the risks of falling to random fooling around without listening other players, how unconventional the sonic environment might be. The anticipating tension on the final moments of the first song give hint of the cacophonic assault occurring on "Casting Festival", celebrating the erected tower in furious bacchanal of drum and guitar maelstrom. In the middle part of the song the aggression settles down, instruments wandering each other with curious caution, engaging momentarily in short clashes with each other. The drummer leads the group wonderfully in the freeform timings, proving the abilities of melodic playing on the instrument, and finding real awesome channel to other musicians, closing the song with sharp mutual strikes. Last tune "Diagram 3" has some shades of bluesy stoner music, but from alienated perspective, maybe like its concept being observed by people not familiar with it from a drawn building diagram. With time fast but quiet rhythm starts to gather the guitars together, but instead of blowing up a familiar riff passage, it tames down, and from the subtle hours of void the guitars learn themselves the strait of monolithic note repetition, escaping to the grandiose void of astonishment left behind. One reference for this album's music could be Pat Metheny's "The Sign of Four" experimentations implemented to the psychedelic heavy sound of the group, but not getting lost as far as the referred project did by the total rejection of basic human emotions in their aggressive chaos. A really fine experimental record from the Pharaohs of mythic rock codexes.