Review Summary: I am sitting in a dark cave by myself hundreds of feet above ground staring outside the open face into a fading horizon-like sky, when all of the sudden, everything becomes dark.
Atmospheric, dark, bleak, drone-like, transient, euphonious, euphoria overtake my mind in a domineering manner. The world around me quickly dissolves into a whirlpool of eradication. My lucent vessel rises in a weightless expedition across the depths of deepest thoughts and emotions of my psyche, recalling every perception gained from infancy. I am taken to a visual world of observance, where vultures give signs to a desolate deity of remembrance, consumed by fire-breathing serpents from the depths of Hades. “What hath happened here”, I say to myself. I look a bit further and see a trail of blood leading to an effaceable foundation of pestilence, where deities slither from, in solace, only to expire from the plague of decimation.
“Who is this exposing such eminent novelties. I command you! Speak Up!”
“My name is Karl Sanders, proud defender of all that is actuality!....”
“Wake up Jared! It’s time to go to work! Your gonna be late again!” I’m awaken with verbal lashes by my significant, homo-sapien of a wife, other(I love you honey). Reality sinks back in at a rushing cyclonic proletariat. The once constant replay of Saurian Meditation comes to a screeching halt, and I skip another much needed shower as I scramble to work.
Most widely known as the founding member of the American Egyptian-themed death metal band Nile, Karl Sanders has used his vast knowledge of Egyptian mythology, Lovecraftian themes, musicianship, and vast “perception gained from infancy” to craft an almost impeccable solo album to please the mass. The usage of stringed instruments, both domestic and foreign, creates a conjunctional interflow with the backing keyboards, percussion, and vocals.
“Awaiting the Vultures” opens the album with a crescendo effect into “Of the Sleep of Ishtar”. Here we having a swaying-like track that brings the listener to a realm of visionary comfort as a well-placed, lightly distorted harmony/solo invites an unrushed clean guitar passage over the swaying seas of abundance. An almost tribal trance begins with “Luring the Doom Serpent” complimenting the tremolo fused string section. “Contemplation of the Endless Abyss” shows a never ending atmosphere reminiscent of band Black Swan. “The Elder God Shrine” brings us a groovy, mid-eastern, almost poppy ballad with a strong dynamic solo in compliment. The next two tracks work as fillers for the great “Whence no Travelers Return”, which showcases wonderful hand speed over the foreign strings. The album closes with “Beckon the Sick Winds of Pestilence” which includes an odd-timed, Danny Carey type drum pattern, similarily found on various tracks of Lateralus. The track closes with heavy reverb taking the listener to a new realm of emotions only to crave more as the album fades out.
Credits
• Karl Sanders -- baglama saz, acoustic guitar, electric guitar, ebow, guitar synthesizer,keyboards, bass guitar
• Mike Brezeale -- vocals
• Pete Hammoura -- drums, percussion
Special guests
• Shawn Allen -- acoustic guitar on "Whence No Traveler Returns"
• Dallas Toler-Wade -- harmony vocals on "The Elder God Shrine"
• David Vincent -- narration on "The Forbidden Path Across the Chasm of Self Realization"
• Juan Gonzalez: drums on "Beckon the Sick Winds of Pestilence", lead gong on "Whence No Traveler Returns", harmony vocals on "The Elder God Shrine"(All credits courtesy of Wikipedia.com)
Pros:
• Karl Sanders
• Cohesive journey
• Solid Musicianship
• Replay Value
Cons:
• Some tracks may drag at times
• Album seems to want to lead to something more
In summary anyone who is a fan of ambient, zoning, middle-eastern sounds should love this. Also, anyone who is a fan of death metal/metal should enjoy this. Album is best enjoyed as a whole. Listening to any singular track will do the album no justice. Enjoy!
