As mentioned, Yurei’s work here may not be as perplexing in discordance as the post-metal arrangement of Virus, but that’s mostly because the Norseman are obviously and intently heading towards a far more bobbing equation; one that’s bluesy, nearly hysterical when contrasted to one of the more technically strained moments of the record, and in fact feels as if it was recorded in an echoing, forsaken desert wasteland with acoustic guitars plugged into distortion amps. They have a tangible enthusiasm for droning prog/doom moments, as seen on the heavenly drudging ‘’Diminished Disciple’’, as an alternative to their jumpier preferences, and I hear a particularly pungent stream of desert/space rock pioneers Yawning Man. Perhaps you don’t need battle-hardened ears to adjust to the fairly intricate passages here, but the undeniable love for experimentation shines brightly on every moment. One thing that only boosts this is the band’s deviation from the aforementioned masters Virus, whose bassist is actually the thumping, serving maniac here, which clearly implies that the Norwegians are endeavouring to surpass the genius of ‘’The Agent That Shaped The Desert’’, trying to do carry this out in a fairly different font.
Besides the guitar tone, and the bevy of sporadic riffs which go from capering diminished chord dispersions, as seen on the well-titled ‘’Diminished Disciple’’, to dowry desert/fusion rock trudges to cavorting singular, lead-based compositions that have an almost technical touch to them (Machinery), Yurei exerts large though not colossal effort into churning the music into an accessible convolution of experimental taste. They certainly keep the music fresh, building it up with countless nuances and more importantly, alien sound samples or instruments diving into the riff foray, effects such as reverb, and the vocalist’s somewhat queer take on the traditional, darkened atoning, which occur at seldom. ‘’Sleepwalkers in Love’’ is an unaccustomed piano tunnel that absorbs the listener in its hymnal melancholy, and ‘’Dali By Night’’, perhaps my favourite, is an almost avant-garde glance at the momentously prehensile fundamentals of Yurei’s brand of progressive rock, a complete slab of sorrowful complexity and experimental touches, clutching the listener from all sides.
As you may well understand, Yurei are out of the generic league for sure and are heading undoubtedly for their own engaging column in the metal/rock universe. What makes the experience twice as fun is that that the Norwegians have worked to render their music accessible as much as they’ve strived to craft the riffs themselves. It’s one record that effortlessly snaps free of the manacles that binds it down, and works in its own criterion; not necessarily ear candy for those who enjoy a more straightforward constraint of proggy rock/rock, but a dwindling plunge into the mysterious and compelling, a source of further agitation if you’re feeling tired of the same tunes.
The Cognitive Crack
Dali By Night