[Reviewed by: Iaha Crax]
H.P. Lovecraft’s “The Colour Out Of Space” has silently inspired me into a universe of eerie unearthliness and has ever since eclipsed anything else I believed to be uncommon or mysterious. It was a call of strange and organically experienced sensations of entering a realm that reality could no longer sustain. A “Call To The Festival” where the attendees are miraculously transformed into their outer space hosts, an invitation very much alike to this first song of Seesar’s disc: a disturbing but luring drum pounding relieves the terror through a hypnotizing attraction. Dr. Will Connor who performed this record works with natural sounds submitted to hallucinatory metamorphosis, meant to recreate figures and movements from the Lovecraftian register. The dark ambient etiquette remains applicable in terms of style and manipulation, but the composer manages to expand the textures to a personal vision. “Child of Yig” denotes, irrespectively of the common ambient features, some unimaginable creature crawling and flying alike. This illustrative effect easily becomes overwhelming on “The Gease of Tsathoggua”, as you feel grease and slime are invading your body and the fainting shrieks of the demon become more and more deafening. The composer linked his writing manner to that of noise music pioneer Luigi Russolo, who used the now renewed “intrarumori”, a device where each instrument made a single sound while turning a handle. Connor makes use this method to illustrate the slithering of Tsathoggua through the corners of our mind like a worm hosting and taking possession of the brain.
“What The Moon Brings” is an almost imperceptible percussion-like movement haunted by few distant chimes. It raises a specter of dense color coagulation magnifying along with the music until it envelops you completely. As the fullmoon claw strangles, the mind rests impotent and approaches an a-personal state of madness. The second “Call To The Festival” comes in time to release the persona from the grip of the others.
Connard entitles himself as an ethnomusicologist and part of the sounds (the drums actually) come from his research during his Master and PhD studies. Seemingly on “Elder Things Below Kharkhov Station” he blended field recordings from that area with deconstructed sounds in order to evoke an imaginary underground area inhabited by dormant creatures. Light tubular noises develop like sparling drops on a lava fluid texture. The percussion elements vibrate the air and awake the “Flight Of Raphtontis”. This reptile bird bears the soul ever and ever deeper through the world beneath, along dim vague spaces. The musical trip engages into losses of consciousness and sudden awakenings to unnatural visions.
Dylath-Leen is one of the fictional cities imagined by Lovecraft. Connor’s interpretation of the “Jewel Of Dylath-Leen” layers on an expansion of dark industrial sounds reaching alarming amplitudes. You cannot help but feel that here lie evil things, ghastly or ‘amorphous blasphemies’ which one can stand not at all by their appearance, but maybe by the illustration such music provides. “Worshipping R’taq” (a demonic character who may very well be the crowned poly-animal figure on the disc cover) marks the final stage of this festival, an ecstatic ritual of structured movement to surpass the horrors already experienced.
In the end “Nyarlatothep”, the crawling chaos, appears to us for ten seconds, sufficient to glimpse once more at that place where someone or something is dead, but dreaming. It might be you…