| Until Death Overtakes Me / I Dream No More Split (CDr) | 2000 | No label |
This was the first release for both projects, and especially for Until Death overtakes Me, this release is very interesting. All three tracks from Until Death Overtakes Me have been re-recorded in different versions on later releases ('Silent Dreams' and 'They Never Hope' on 'Symphony I: Deep Dark Red', and 'In The Mist' on 'Symphony II: Absence Of Life'). The most noteworthy of the differences is that while the tracks on this split are purely ambient, the newer versions on the other releases have become the ambient funeral doom that Until Death Overtakes Me has grown so famous for.
The ambience is very vague with all the sounds being far in the background almost all the time. Both guitar and keyboard effects are used very minimally. This creates a vast atmosphere of a black and depressive void. And already the dark cello-like sounds, that gave Until Death Overtakes Me the label "druid doom", is present. However the extreme minimalism has still a few steps to take before it reaches the sound it is known for; no vocals. No hints of metal...
I Dream No More is an ambient project now just as it was back on this split. Unlike the rest of the split, the music doesn't lie far in the background. Drum noises that sound like cannons firing slowly and steadily, repeat themselves over and over again. A dark hum, similar to a boat engine, pulsates under the cannons. And in the end there is the very minimalistic synth that plays a sad little melody among all this noise. There are quieter moments, but this is pretty much the standard for the track.
This split is probably of more interest to ambient fans than doom fans, but those doomsters who create the fanbase of Until Death Overtakes Me should also have a big interest in hearing this. This is the point where that project sprung out from, it is the beginning of its musical history.
Until Death Overtakes Me:
1. They Never Hope
2. Silent Dreams
3. In The Mist
I Dream No More:
4. Hibernus Silentius
Approx. 70 minutes
| Symphony I: Deep Dark Red (Demo) | 2001 | No label |
Some people might describe this as more dark-wave then metal, but UDOM in fact offers ultra slowed down Doom-metal. Think Skepticism, but slower and more wavey. It seems like everything on this album has just been written with one destination in mind; despair, sorrow, pain…. Emptiness. There is not one joyful note to be found on this album.
'Symphony I: Deep Dark Red' leaves you feeling exhausted and crushed. There are no moments of hope on this album, the world is nothing but pain, misery and nothing good will ever come from it. Life is a prison we must endure, a personal mental hell, all this life can ever offer you is emptiness and pain. This is a soundtrack to a mental breakdown in progress. If you aren't suffering from one before you put this CD on, you will by the time it is over. Such is its power.
Unless you are an experienced Skepticism fan, I think I actually need to post a warning in this review. This will crush you, this will remove any faint hopes left in your life. It will make you a suicide case waiting to happen. This album will lead you towards despair and emptiness. If you're ready for that, then I urge you to get this demo and be on your way towards the emptiness.
1. Silent Dreams
2. They Never Hope
3. In The Light of Dying Summer
4. Never Again
5. Careless, Painless, Far Away
6. Towards the Emptiness
Approx. 57 minutes
| Symphony II - 'Absence of Life' (Demo) | 2001 | No Label |
Silently and peacefully, this amazing funeral doom project enters the small funereal scene, adding new dimensions of auditory depression, isolation and nihilism to the most depressive musical realm of this suffering world. Until Death Overtakes Me is an one-man ambient doom project which 'overtakes' most of its depressed counterparts in slow, pounding sounds, depressive atmosphere and incurable pessimism.
The first thing that comes to mind while listening to this work for the first time is -except that the creator of such sick, desolate music must be a chronic resident of a mental clinic- the strong ambient basis and 'feel' it emanates. As such, those doom fans who are into dark ambient as well, should mostly enjoy this work. Like a more 'metallized' version of Raison d' être, the music seems to drift around purposeless, endlessly building up only to fade out again and eventually fall into a horrifying gap of utter nihilism and hopelessness.
While the agonisingly slow orchestral keyboards bring forth vague reminiscences of 19th century classical music (fragments of works of romantic era composers like Ravel and Mussorgski occasionally spring to mind), the ultra deep grunt and distortion guitar lingering in the background remind of the grandeur of the mighty Skepticism. This comparison is even more justified if we consider the fact that also this artist has chosen for the use of unconventional percussion, leaving aside the drums and replacing them with deep, pounding timpani sounds.
However, the resemblance's with the masters of Finnish funeral doom appear to be only superficial after a close inspection; Until death Overtakes Me focuses even more on the ambient side of the sound. This becomes mostly evident with the second track 'In the mist', which consists of endlessly drifting along waves of sound produced by a bass guitar, a bow and reverb effects, while a saxophone appears occasionally in the background adding its own (atonal) colour.
However in my opinion, the third track 'Absence of life' is the absolute highlight of this album, the apogee of pessimism, despair and nihilism served in an ugly package of funereal doom agony. The lyrics of the song leave nothing to the imagination of the listener: 'Reach for the cold-eyes stare dead-unspoken dreams. Absence of will- no joy in life-let me go. Not exactly a highlight of 21st century welfare optimism, right?
This is most probably not everyone's cup of tea and only time will tell if the doom-metal community shall embrace this experimental, ambient doom project in its icecold, purple arms. Until then…'The anger towards this world burns and grows within, together with my fascination and my desire for death'.
Reviewed by Kostas Panagiotou
What I had previously heard of Until Death Overtakes Me reminded me a lot of a mixture between Skepticism and Elend, a sort of ambient Doom. On this second demo however I find close to no metal elements anymore. Until Death Overtakes Me seems to have crossed over completely into Darkwave made by bands like Dream to Dust, Veinke or Sephiroth. Only the distant guitar sound on the last track and the distant distorted grunts hint towards metal.
This 66 minute long demo focuses on creating a very bleak, depressing soundscape. I can easily imagine a barren land outstretching as far as the eye can see, no hope for escape and a lonely desolate journey without any real goal. This is one of those albums you can drift away on, it won't enforce its rule upon you unless you allow it.
Shamefully I think that is also where its weakness lies, there seems to be no goal in this album, no focus. If you don't pay attention to the music it quickly fades into the background and once you notice it again you hardly feel like you've missed anything. The same bleak, endless music and atmosphere still there. The difference between songs also isn't phenomenal.
I like the monotony of it a lot, but somehow it seems to miss that spark to keep you really interested. Perhaps it is due to the absence of a metal element. Something that makes bands like Skepticism and Shape of Despair sound interesting and bleak at the same time. "No hope"-music is a wonderful thing, but the whole should also be kept interesting. Perhaps if the vocals had been used more often and been brought further up into the mix they would have given the music more substance. Now it slightly lacks focus.
'Absence of Life' is something I would put on late at night, perhaps together with Veinke, Sephiroth and other desolate darkwave acts. It serves well in such a role and I would recommend getting this demo if you enjoy the aforementioned acts. However if you're expecting variation, roaring guitars and soul-crushing heaviness, look elsewhere.
Reviewed by Aldo Quispel
1. This Dark Day
2. In the Mist
3. Absence of Life
4. And death took her Smile Away
Approx. 66 minutes
| Prelude to Monolith (CD) | 2003 | Firebox Records |
Some may recognize the man behind this band, Stijn Van Cauter, from his countless other music projects, most of which being at least quite doomy, if not totally suicidal. However, UDOM (as this project is often referred to) is widely regarded as his greatest and most popular. Although I’m not completely sure if I agree with this, I certainly regard this ‘band’ as one of the finest things that can be roughly categorized as doom to emerge in recent years, and one of my proudest discoveries and most delightful listens in a long time.
Despite the immeasurable originality, unconventionality and innovativeness of this project, it can be quite easily coined as ‘ambient doom’, although this barely scratches the surface of the matter. Some more informative descriptions I would use would be hauntingly beautiful and tranquil, and yet nightmarish, sorrowful, tortured, oppressive and demoralising. The pace is never fast (even slow could be too lenient a description), and the mood is never uplifting, or even remotely hopeful. However, by the time this 67 minute, 5-track long monolith comes to a close, you do feel strangely...better, and full of wisdom about yourself.
The music is largely very minimalistic, like almost all of van Cauter’s work. Featuring only tormented, massively distorted and down tuned guitars, indescribably sombre and moody keyboard and synth work (that add some melody to the music), solemn, yet empathic timpani, and most notably of all, anguished, dark vocals. Some have remarked upon their distaste for these vocals, claiming that they ruin the atmosphere and are simply not needed. However, I very much disagree. These extremely deep, ominous growls (as well as occasional sinister, desperate whispers) only add to the atmosphere and emotion on display, and are not at all dominant above the other instruments as they are in more conventional music (if this were the case, then perhaps they may have damaged the atmosphere, but they are not). Rather, they’re almost like an additional instrument that helps the music to flow, and become even more pained and desolate. Another noteworthy matter is the fifth and last track, a remake of Frederic Chopin’s fantastic ‘Marche Funèbre’. This is a considerably interesting, emotive and quality remake of an already wonderful piece of music...it adds the definitive, affective UDOM ‘feel’ to the piece as well as making it even more sorrowful. It is a wonderful choice for a ‘cover’, and closing track, that warrants the attention of any open-minded ambient/doom/dark music fan fond of the original, like the rest of the album. Despite it being so harsh, bleak and uncompromising, as well as totally unconventional, I think that it could appeal to any such listeners, and I would heartily encourage anyone in any doubt as to whether or not this masterpiece will appeal to them to ignore these restraints and listen to it regardless...The tortured, woeful emotion present, massive and deeply touching, and the dark, brooding, ominous and desolate atmosphere unforgettable. This work really is incomparable and irreplaceable, and anyone who never has the fortune to hear it has suffered a tragic loss.
‘Prelude...’ also features some very interesting, fitting and good quality sleeve artwork courtesy of Stijn, providing a futuristic and atmospheric backdrop to the hopeless and miserable, but still affective and fascinating lyrics, making this record a near-perfect record of suffering. To find out more and purchase PtM, as well as all of Stijn’s other projects, head over to listen.to/udom. And by god, if this is only the prelude to monolith, I’m not sure if I can bear the monolith itself...
1. Prelude to Monolith
2. Missing
3. Absence of Life
4. Slip Away
5. Marche Funèbre
Approx. 67 minutes
| Funeral Path (MCD) | 2004 | NULLL |
The first one is the 50-minute long ambient version of the song 'Funeral Dance', which will appear on the upcoming full-length album 'Symphony III - Monolith'. That version has also been spread as an MP3, so be sure to check out the official download sites. On this song the brilliant theme is spread out over the full 50 minutes, appearing and disappearing in several different forms. Throughout the song's length, the sound is warm, hypnotising and actually quite pleasant, in the sense that your last dying moments might also be pleasant. Where the "metal" version of 'Funeral Dance' is as crushing as it gets with UDOM (think of 'Slip Away' and you know what I mean), this extended ambient version is about as soothing as it gets. Don't fool yourself though, this isn't happy fairy land, and the results are always grim in the realms of Doom. Whether it be soothing or crushing, it still is death we're talking about. 'Funeral Dance' sets you a fair bit ahead on the 'Funeral Path', although it might be one of the calmest journeys you can think of.
After almost an hour is through, we are treated to the full version of the cover of Chopin's 'Marche Funèbre', the short version of which appeared on 'Prelude to Monolith'. The only difference is the middle part of about 12 minutes which didn't make it to the last album. This addition surely makes the song more complete, and I prefer it over the short version. This song remains what it was, a classic of timeless funeral music, only now in a modern guise.
The only thing I would have done different is to change the track order. Personally, I'd start off with the slightly "heavier" funeral march and end it with the ethereal 'Funeral Dance'. I just feel that the ending of that song should also be the ending of the whole experience that is represented here.
Altogether this is the most ambient release UDOM has ever done, and it might scare off those who prefer the metal approach. For those who who like the way Stijn van Cauter mixes Funeral Doom and Ambient, however, this is a must have release. It definately shows the project from one of it's more extreme sides, and that is a good thing for an "interlude" release like this. It should be seen as an addition to the main corpus, not an essential release for those who would like to get to know Until Death Overtakes Me better. I must say that the DVD-box release looks very good, and I'd definately recommend buying that version for only a little more.
So, if you think you can handle "musically dying" in over 70 minutes, this is your chance.
1. Funeral Dance
2. Marche Funèbre
Approx. 72 minutes
| Symphony III - Monolith (CD) | 2006 | Flood The Earth |
I'll get back to that later. First, the lowdown. 'Symphony III - Monolith' is a name more fitting than any. If there's one word that's popular among reviewers of funeral doom, it's probably 'monolithic', yet I still think there's no band out there on which this adjective is more applicable than UDOM. Arguably, the sound on this new one isn't more monolithic than the sound on 'Prelude...', but then again, that's hardly possible. What it is, though, is more sophisticated. You can tell that the hard work that Stijn van Cauter did in the studio has paid off, as he has managed to concoct a unique, clear, but oh so heavy sound. Improvement is especially noticable in the guitar sound and in the ambient/synth sound, which sounds rich and deep. This is best heard on the intro, 'Thus...' an excellent and majestic interpretation of Richard Strauss' 'Also Sprach Zarathustra'.
Those who known their cultural history will start making ends meet at this point. Strauss + Monolith = Stanley Kubrick's '2001: A Space Odyssey'. Anyone who has seen the movie will remember that mysterious slab of stone, the Monolith, projecting a keening choir voice through space and time. Well, UDOM's Monolith is both alike and not alike. Not, because the sound it emits is vastly different. You didn't hear music like this back in the seventies, obviously. But, the idea is the same. 'Symphony III - Monolith' is a primordial slab of stone in a space age, progressing slowly but steadily through majestic melodies and mystic moods.
If you thought funeral doom had drowned itself in mediocrity, think again. UDOM proves that it's still very much alive with these four tracks. Especially so during the 30+ minutes of 'Soon...', perhaps the new quintessential UDOM track, which takes the greatness of a track like 'Slip Away', and raises it to a new level of structural development. All the elements that made 'Prelude...' are still there: booming timpani, crushing riffs, deeper-than-the-abyss growls, but, like I said, taken a step further. This is UDOM, and Stijn himself, at their best!
1. Thus...
2. Funeral Dance
3. Monolith
4. Soon...
Approx. 74 minutes