LoveCraftopolis is a lot to take in. This Italian three-piece share a lot of influences, bringing them all together within four tracks. Talisman Stone highlights an integral depth in layering simplistic patterns bringing in a whole host of sounds both conventional and unusual to craft a doom record unlike many others. It seems to add a spanner to the proverbial works that it’s noticeable in the lineup (a matter of two vocalists, two bassists and a drummer that couples playing the sitar) that from the initial development that this release is going to be far from your standard doom metal affair. What truly promotes this record is the combination of female to female vocal lines contrasting a sinister, gravel filled throaty death metal like growl with the warm, smooth, crooning melodic phrases that transcend the traditional styling found in a score of doom artists showing that Talisman Stone can indeed step out proudly onto the scene without conforming to an already established sound.
At a first take listeners’ are blown away by the oriental styling, coupled with a suffocating bass wobble presence that fuzzes the listeners’ senses at an appropriate level without simply being overbearing or too much of the same thing. This shows Talisman Stone’s musical ingenuity; knowing where to draw the line without losing the effect of what’s just been created, further reinforcing just how talented this experimental doom group is. As a whole the album promotes a decadently slow paced sludge affair that twists around the listeners’ subconscious exploring fields fuzz filled, mystic and oriental making it one of the most original releases of 2012 in design alone. This is noticeable from the opening track “By the Sun of the Lightkeeper” where all of the above mentioned soundscapes come to the party. This track is just the beginning of a vibrant album dripping in cymbal splashes, crooning female vocals and tasteful bass work -all the particular soundscapes that a listener would expect, only done with an expertise that coincides with Talisman Stone’s semi-original display perfectly, maintaining the vibe that the band has created.
In terms of production, this Italian three-piece has the best of both worlds. The recording is gritty enough to allow the dual bass effort enough presence to thicken out the band’s sound without the reliance of a six string electric and is also polished and well mixed to allow all the subtle chimes and sitar effects to come shining through. Take “Power is a Splendid Shroud”, this track is a fine example of the subtle excellence that can be found in this production. Underneath the crooning “Ahhh-Ahh-Ahhhh’s” you can feel the bass, feel the tempo and importantly notice the rhythmic chiming of the sitar.
At a respectable fifty minutes there may be a lot of material to process within four tracks; in fact it may take multiple listeners to enjoy the sinister bliss found from the plodding bass lines and dual vocals. But, rest assured what’s here only adds to LoveCraftopolis’ replay value and commercial viability. If you loved records like Witch Mountain’s Cauldron of The Wild than chances are this release is going to make your 2012 albums sing with praise only matched by the excellence in bands. At times the record can twist in a sinister manner, found usually with the combination of oriental and mystic themes, combined with some consistently haunting bass lines – but this all adds to this four track opus creating one of the most promising listens to surface in the middle of 2012 and unrivaled in terms of quality. The tracks might be on the long side for some but fear not, the length is well worth it and does nothing to take away from this quality release.
Don't take offense, but please do take this criticism: there's some stuff written here that I don't understand as a reader.
What are "female to female vocals?"
As a whole the album promotes a decadently slow paced sludge affair that twists around the listeners’ subconscious exploring fields fuzz filled
What the devil does this mean? I get the "slow-paced sludge affair that twists around the listener's subconscious" but the "exploring fields fuzz filled" just makes... no sense. I think you may be going for an imaginative landscape painting to represent the music, but you need to separate the two thoughts, if that's the case.
There's a decent amount of grammar issues here too. Commas, than/then, "listeners'" should be "listeners" or "listener's" in two different situations, etc. You need to proofread this.
Thanks man, i'd like to take that proffesionally (and i hope you take these responses the same way) but the first bit "female to female" is a really basic description. For example if I had said male to female vocals this wouldnt be an issue - here it's the same. Its a comparison of the switching and occasionally harmonised vocals shared by two female vocalists. It doesnt matter if im talking about ducks and cays you can still expect the sources to be used as a medium.
As for the rest of the review your pretty much bang on, yeah that section is a lot choppy and needs rewording. As for the grammer it's slowly getting better. One of the things i am working on. But the descriptor "fuzz" listen to the album it will make sense.
I can understand what you mean when you elaborate above, but, just honestly, "female to female" doesn't mean two female vocalists trading off vocal duties and harmonizing to me. I'd consider rewording things there to make sure you get the proper point across, that's all.
And no worries about using fuzz as a descriptor - the issue was mostly in the execution (splitting the sentence up and retooling things a bit). Fuzz certainly makes sense on a doom album.