Entropia - Pànik sagnant
|Genre||Drone Metal, Doom Metaĺ, Noise|
|Release date (album)||2014|
|Release date (review)||2018/04/30|
| Maybe the overall heaviness that has maintained a certain impact/grip on the music, because Entropia's music has moved away from their early days by a considerable degree. What had once been a mixture of death metal and grindcore, has progressed into a drone doom death metal amalgam ... or something like that; no 'funeral doom' reference, please. Anyway, a type of dark sinister music (mostly) without drums to add some kind of dynamic or counterpoint is what this release is all about. Therefore, the focus is, in terms of the album, on the guitars and the vocals, while on stage dance performer add something to the musical performance. How this would look like and in what effect this would result, can only be fathomed from the mere MP3s though.
The general direction of the music is rather limited. Without a supporting percussion element most of the time, it is a curious thing to not find a drum-computer here, there is a certain sense of limitation and absence of dynamics. Like it is the case with industrial music at times, the music progresses not due to the motives or arrangements, but because it cannot escape its inner dynamics. What should be noted as well is the existence of a bass-guitar, but it should come hardly as a surprise to see it follow in accord with the (ordinary electric) guitars. Hence it is only more of the same, but with a different kind of emphasis or sound; something that is allowed to linger vaguely in the background. All in all it can be broke down to one melody line or one conceptual element at a time, but expressed on different layers. All too often this is then accompanied or dominated by various types of vocals. An exception in this regard would be the last track, whose break -- imagine a lot of quotation marks here -- from the established set comes as a surprise, due to the exotic nature of this new instrument in this realm of the music scene; drone doom that is. Sadly though, it merely creates an acoustic and not conceptual counterpoint. Aside from this one aspect, another would be the overall presence of this instrument, as it is not adding something to the music over the entire course of the track, and just attempts broaden the acoustic spectrum. There is also the question, why there is no increase in intensity by the violin once the sound of the guitars has evolved into a wall like texture. It all feels rather tame and all too often without much of distinct dynamics. The violin can be treated really maliciously, but such would not be the case here.
Generally speaking, music does not necessarily have to be clear cut and structured in a simplistic or easy-going kind of way. To the ordinary listener it can be refreshing to venture into realms out of the ordinary. How well this actually plays out depends on the band or artist, who had been responsible for crafting, arranging and recording the music. While it can be a treat, in terms of Entropia it feels unnecessarily limited and restricted. The band does not allow for counterpoints to have an effect on the atmosphere. Neither do they trust in percussion instruments, nor in extreme counterpoints. At times it feels like the main idea is to set all up for the vocals -- or maybe for the dance performer on stage. While it is an intense brew, whose conception is able to spark some interest at certain points throughout the 50+ minutes, the limitation when it comes to song-writing, dynamics and even sounds, take their toll on how the listener might appreciate the performance of the Spanish musicians. Maybe this all makes much more sense on stage.