+Liturgy Of Decay+ – “First Psalms (Psalms of Agony And Revolt – First and Early Shape)”


+Liturgy Of Decay+ – “First Psalms (Psalms of Agony And Revolt – First and Early Shape)”

 

 Label:  D-Monic Records
 Release Date:  October 15th, 2016
 Genre:  Flambloyant Gothic Metal (atmospheric and symphonic)
 Country:  France
 Running Time:  55 min
 Line-up: 
+Iokanaan+ : vocals, guitars, keyboards and programmings
 Links: 
BANDCAMP | FACEBOOK | YOUTUBE

 TRACKLIST 

1 – Mental Damage
2 – Symphony Of Curses
3 – Suffering The Idyll
4 – Suffering The Ideal
5 – Dispossessed (SIC NOC LVCEAT)
6 – The Temptation Of Being
7 – The Last March
8 – Tales Of Betrayals
9 – Tristiana
10 – Dolores (My Lonely Failure)

« A liturgy of decay, because if you want to learn to fly, you will first have to learn to fall »

At the crossroads between a deeply gothic style (in an almost literal meaning of the word), carried by a misty and originally disenchanted religiosity which gathers inspiration in centuries-aged musical shapes and orchestrations, and a truly modern, clear-voiced, atmospheric and melodic metal, +Liturgy Of Decay+ is the place of birth and the cradle of what reviews formerly described as a deeply personal and yet unexplored style – to which has been given the designation of “ flamboyant gothic metal”, in reference to the proliferation characteristic of the architectural genre with the same name as well as to the bringing together and to the confrontation within its aesthetic, dialectical and musical content of abyssal darkness and of sparkling lights from intense radiance, of black opacities and of vibrant clarities. Blending a wide spectre of influences from Dead Can Dance, The Cure, The Sisters Of Mercy or Elend to Paradise Lost, Samael, Moonspell or Tiamat, passing by symphonic, liturgical and electronic music, the band’s work, carried by a permanent emotional and spiritual tension wandering the extremes both high and low, drives to the exploration of an ageless universe where saturated guitars and hammered rhythms, classical and electronic orchestrations, great organs, harpsichords, choirs and carillons melt with each other and weave a backcloth where an alternately plaintive and incantatory chant psalmodies the revolt and the bitterness of an aching past and the invocation for a glorious future by calling to an uprising of the Self against despondency.

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