Oceans To Eternity…DROWNING THE LIGHT review

Drowning The Light have finally learnt how to breathe.

Oceans Of Eternity, the twelfth offering from this prolific Sydney-based black metal outfit, was released as 2011 drew to a close. Considering this is the eleventh album from Azgorh, the founder and only main constant behind this project, since 2007 — not to mention the many demos, splits and collaborations — leaving more than a year between full lengths’ is an age for this artist. But time has not only proven its worth, it has paved the way for a renewed sense of urgency.

Enlisting the help of Wraith (Naxzul, Nox Inferi) and Blackheart (Atra), now both semi-permanent additions, Drowning The Light’s ability to strip back the most crushing of rhythms to their crusty core has been taken to elevated heights. Reaching towards more traditional raw blackened tones, the distance between previous effort Catacombs Of Blood and this offering is monumental.

Still holding to their lo-fi sensibilities, Azgorh and company have taken a step away from the more haunting tones of Catacombs… – putting aside the layering of keys for cleaner tones, soaring choral synths and the undeniable power of the riff. Carrying a measured approach, which reared on the 2010 full length, this release wavers between the lethargic beauty and chaotic sway akin to the very metaphors the title and album imagery itself imposes.

Literally bursting to life, opener As The Shadows At Dusk Reach Our Enemies Throats reveals a glimpse to the darker side of nature – riding pummelling blastbeats, euphoric tremolo strings and gasping vocals. The title track continues this outfit’s favour for the epic, taking beats down to a rollicking gallop as tones shift to a sea-inspired composition. Firing towards album highlight, The Cataclysmic Cycle Of Renewal, full of nihilistic verse and lyrical ties to the end of days.

Stepping away from this menace, Oppression & Tyranny’s focus on melodic and calculated strings continue through to more punishing hues. Droning through his lines on The Lunatic Tide, Azgorh’s preference for the more scratchy delivery strips this effort to its core – exploring the black metal roots laid by his forefathers. Treading different terrain with plucked interlude, Drifting Away In A Sea Of Sorrow (pt II), the album ends with the unapologetic and unrelenting The Runes Are Thrown & The Bones Are Spread.

Testament to an prolific artist that has well-and-truly hit his creative stride, 2012 looks to be a fruitful year of plenty for Drowning The Light – with a slew of new material penned for release.