|Many flourishes ornamenting a single canvas are what makes Mekigah's self-released second album so rich and strong...and still so consistent.|
|Hailing from the Tasman Sea city of Melbourne, the two-headed project Mekigah here offer us their second album since 2008 - when the band was founded - and with it join the handful of pioneers seeking to bring Doom to new territories.
Encompassing recent acts such as Öxxö Xööx and From Astral Planes, that new mindset – which could roughly be labelled "Atmospheric Post-Doom" – is regularly embraced by new talents with an apparent fondness for the latest works of the mighty Ulver. Indeed, one can hear that similarity in such moody soundscapes which border on Ambient, enhanced by a firm orchestral and neo-classical touch able to express some intimidating immensities, be they of the ocean or the Universe: Abyss and Aether intertwined.
However, Mekigah's musical depictions are far doomier than the above-mentioned others. The slow pace of the opening track 'Burning my Wings on Your Radiance', with its relentlessly repeated refrain « Down, down, dragging you down », sets the tone: dark, pessimistic, profound.
But here again, things aren't so simple: the colour palette of Mekigah is rich with many subtle shades. The Dantean title-track, the liturgical 'The Unjust Abhorrence of his Name' and the apocalyptic 'Crossing Over into the Void of Primal Emotion' are majestic songs heralding the coming of primordial entities and the impending end of humanity.
'Touching a Ghost' has a more intimist and thoughful echo: it plunges you into the melancholic thoughts of a man whose identity remains obscure – is he the murderer of his wife or did he commit suicide? The way the samples are organised feeds the enigmatic nature of the song and graces it with a striking cinematic value.
'Le Roi est Mort' goes on weaving the same funeral tapestry while taking a trip into Medieval times. It conveys all the weight of the burden carried by hearts full of faith. Whereas the fiendish 'Bloodlust' spits black venom and conjures the worst torments of Hell through raspy shrieks à la Attila Csihar.
These two artists (Kryptus and Vis Ortis) are good at everything they do and stand as true masters in the creation of evocative atmospheres. The clever input from many guests, mainly in the vocal field, make for an even more impressive grand scheme. Each brings his own touch and easily finds his place among the others, expressing sensuality, rage or solemnity, as if in an opera.
I haven't yet mentioned the vast, dark Ambient vortices that are 'The Scythian Revolution', 'Galkadjama' and 'In the City of the Blind', taking their inspiration from Lustmord and Brian Eno. Incorporating the same duality of Abyss/Aether, they serve as an epic cement for the whole edifice. Everything ends with 'From the Grave to the Cradle', sounding like a final credit roll.
Many flourishes ornamenting a single canvas are what makes 'The Necessary Evil' so rich and strong...and still so consistent. And so professional, too, with an impressive production job, powerful and clear – a little surprising, even, with the album being a self-release. The Australians have softened the Gothic tendencies of their first opus, 'The Serpent's Kiss', and have embraced a doomier approach which suits them perfectly. Ironically, that leaves their future looking extremely promising.
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1. Burning My Wings On Your Radiance
2. The Necessary Evil
4. The Scythian Revolution
5. The Unjust Abhorrence Of His Name
7. Touching A Ghost
8. Crossing Over Into The Void Of Primal Emotion
9. In The City Of The Blind
10. Le Roi Est Mort
11. From The Cradle To The Grave
Duration : approx: ?? minutes
Visit the Mekigah bandpage.