…And Oceans – As in Gardens, So in Tombs

Origin : Finland

Genre : Symphonic Black Metal

Release : 2023

Album Info / Review

Intro:
The thaw following a brutal winter often reveals the frozen earth, its secrets slowly surfacing. So too does the sonic landscape of …And Oceans’ *As in Gardens, So in Tombs* emerge from a period of dormancy, a potent reanimation of their signature blend of avant-garde black metal, industrial textures, and a palpable undercurrent of existential dread. This isn’t a mere rehashing of past glories; it’s a deliberate, multifaceted exploration of decay and rebirth, a testament to the band’s enduring artistic evolution. From the first dissonant tremor, it’s clear that this is an album designed to burrow deep, to unsettle and captivate in equal measure, eschewing easy categorization for a more challenging, rewarding listen.

Track Analysis:
“As in Gardens, So in Tombs” opens with a glacial, atmospheric intro that builds with a disquieting sense of inevitability, before erupting into a torrent of blast beats and jagged, dissonant riffing. The vocal delivery is a masterful exercise in controlled aggression, shifting from guttural roars to venomous shrieks that paint vivid pictures of desolation. “The Widening Gyre” introduces a more pronounced industrial pulse, with pulsating synths weaving through the relentless assault, creating a claustrophobic, almost mechanical tension. The guitar work here is particularly noteworthy, oscillating between razor-sharp tremolo picking and moments of melancholic, almost mournful melody. “The First of the Seventh Moon” presents a stark contrast, showcasing a more restrained, yet no less impactful, approach. The tempo slows, allowing for a deeper immersion in the lyrical themes of spiritual erosion, with the instrumentation swelling and contracting like a dying breath. The inclusion of subtle, almost subliminal choral elements adds an ethereal layer to the otherwise grim proceedings. “The Serpent’s Tongue” is a brutal, unforgiving track, driven by a relentless, almost tribalistic drum pattern. The guitar solos are not virtuosic displays, but rather fractured, dissonant outbursts that mirror the lyrical content of betrayal and corruption. “The Last of the Seventh Moon” acts as a thematic counterpoint to its predecessor, offering a sense of bleak acceptance. The atmosphere is thick with a pervasive sadness, punctuated by moments of raw, emotional intensity. The interplay between the crushing rhythm section and the more intricate, yet still unsettling, melodic lines is a defining characteristic of this song. “The Sun of the Seventh Moon” shifts the focus towards a more overtly experimental phase. Here, the industrial influences are pushed to the forefront, with electronic textures and sampled sounds creating a disorienting, almost hallucinatory soundscape. The black metal elements are still present, but they are distorted and recontextualized within this new sonic framework. “The Earth of the Seventh Moon” is a sprawling, epic closer. It moves through various sonic terrains, from moments of crushing heaviness to passages of unnerving quietude. The band demonstrates a remarkable command of dynamics, expertly navigating the emotional arc of the album’s conclusion, leaving the listener with a lingering sense of unresolved catharsis.

Conclusion:
*As in Gardens, So in Tombs* is a significant artistic statement from …And Oceans. It’s an album that demands repeated listens, revealing new layers of complexity and nuance with each immersion. The band has successfully navigated the treacherous waters of sonic evolution, crafting a work that is both challenging and deeply rewarding. They have not shied away from exploring the darker, more unsettling aspects of the human condition, and the result is an album that is as intellectually stimulating as it is viscerally impactful. This is not an album for passive consumption; it is an experience to be wrestled with, a journey into the depths of the self and the world around us.