Review Summary: The Ghouls of Skellig cometh....
I will readily admit I’ve not explored deep well of black metvl nearly enough to give Coscradh’s sophomore effort
Carving the Causeway to the Otherworld “proper” consideration within the scene itself or even within their own short discography so far. I’m a dabbler, but even I need to salute the war machine that is
Carving the Causeway to the Otherworld. For their second set of orders, the band delves deep into their druidic Celtic mythos while unleashing an unrelenting torrent of dissonant riffs, blast beats, and amorphous vocals that both bring forth the dead and commune with the gods. On paper, typical, but
Carving the Causeway to the Otherworld is certainly greater than the sum of its parts made possible by tight songwriting and a bleak, chaotic atmosphere that permeates every corner of the album.
After the mood-setting intro,
Carving the Causeway to the Otherworld begins in earnest with its title track and immediately flexes its technical muscle while setting the tone for the album. The instruments here don’t build, they blast off, sending fire and brimstone raining down on the Irish bogs being stomped underfoot by the hordes of undead being summoned by vocalist Ciaran O Criodain. It’s these vocals that suffuse
Carving the Causeway to the Otherworld with much of the dread and personality that works so well to differentiate Coscradh from the other bands in the aforementioned well. They hiss and growl with a palpable ferocity that’s simply pleasing to listen to and impressive to pull off while their cavernous quality within the mix gives them a welcome clarity within the chaos of the instrumentation.
Carving the Causeway to the Otherworld hits its stride with “Adhradh De Ghoac” and “Caesar’s Revelation (Hibernia L. VI V. XIV ad XVI et XXIV).” Both tracks retain the album’s breakneck pacing while displaying the band’s superior song craftsmanship. “Adhradh De Ghoac” begins with the album’s best example of a “groove” before the listener is treated with two discordant guitar solos, both sounding like Coscradh recorded their guitars being torn apart.
“Caesar’s Revelation (Hibernia L. VI V. XIV ad XVI et XXIV)” showcases some tasty dynamism, allowing the listener to take some small breaths before forcing them back into the churning grinder. By its very nature, the songs within
Carving the Causeway to the Otherworld bleed together. It’s a ferocious endeavor that can be exhausting to take in as it must have been to write and perform. The visuals the songwriting conjures of Celtic shamanism, otherworldly deities, and crushing pressure of ensuing war are actualized to perfection. 20 Buck Spin has another winner here, but what do I know? I’m merely a dabbler.
