{"id":1578,"date":"2023-04-18T01:18:05","date_gmt":"2023-04-17T22:18:05","guid":{"rendered":"https:\/\/bagnik-zine.net\/?p=1578"},"modified":"2023-04-18T01:18:05","modified_gmt":"2023-04-17T22:18:05","slug":"%d1%80%d0%b5%d1%86%d0%b5%d0%bd%d0%b7%d0%b8%d1%8f-wel-from-where-night-comes","status":"publish","type":"post","link":"https:\/\/bagnik-zine.net\/en\/arch\/1578\/","title":{"rendered":"Review: WEL \u2013 \u2026From where night comes\u2026"},"content":{"rendered":"

Year of release:<\/span>\u00a02018
\nLabel:<\/span>\u00a0Possession Productions<\/a>
\nRating:<\/span>\u00a08,1 \/ 10<\/span><\/p>\n

WEL (stands for\u00a0WeltEisLehre<\/a>is a project from the time and place where\u00a0that very<\/em>\u00a0cult music from Homiel was born. Radzim (\u0160MIERCIESLA\u016c, OYHRA, ZMROK) also participates here, but this time as a performer, not an author. All the music and lyrics were composed by his friend Tron from 1997 to 1999. I don\u2019t know what they drank there at the turn of the century, but that period became extremely important and fruitful for Radzim and his peers; \u201cBiessmjarotny czorny mieta\u0142\u201d, \u201cPra\u017a pia\u010dory misty\u010dnaha azare\u0144nia\u201d, \u201cZaimhlonyja dali prynosia\u0107 uspaminy\u201d, \u201cBlukanni \u01d4 \u0106iemry\u201d were created during that time.<\/p>\n

The temporal context in this case is very important. \u201c...From where the night comes...\u201d is a banal \"they don\u2019t do it that way anymore\", but also \"and they won\u2019t do\". The album has very rare and unpopular influencesin the form of the ancient synth Black Metal (early GEHENNA, SATYRICON and DIMMU BORGIR, for example), as well as the no less ancient Eastern European scene, especially the Polish one. Such music practically does not exist today. The time of its heyday and sunset were those very years at the turn of the century, when the pillars of underground metal got rich and went into experiments, and their fans - often much less talented - made every effort to preserve the spirit of the passing era. Extreme metal with primitive synths eventually lost the battle with cumbersome pretentious emperorism and shitty industrial. There were, of course, objective reasons. It was not only that the mainstream did not need such music, but also that not everyone could play it. This is a very delicate work; each riff, keyboard part, melody, line of lyrics should be approached with an absolutely clear awareness of what you are doing. A couple of fake notes can turn everything into a complete farce of homosexual vampiric operetta.<\/p>\n

\"... From where the night comes ...\" in this regard lives according to the laws of the era. Aesthetically and musically, it tries to do everything right. The first is quite possible - a wildly romantic design and colorful texts in the vein of early BEHEMOTH (minus the \"horned princes of the pagan darkness\" stuff) do not cause questions. With the second, everything is not so straightforward: sometimes WEL sounds like a good and respectful curtsy towards BURZUM, sometimes as beautiful, original and atmospheric metal, and sometimes as totally Russian piece of clumsiness. I am glad that the latter happens infrequently (and after a couple of auditions you stop noticing it at all), but you cannot throw the words out of the song, you know. Again, music was made at another time, when the sources of inspiration and their perception were completely different, and this is also part of the spirit of the epoch. If Radzim had been the main composer, he would certainly have perfected everything, but Tron decided to leave a bit of frivolousness. Reliable embodiment of the original idea in this case is more important. \u201c... From where the night comes ...\u201d is a thing in itself, it will not have a continuation, it does not give a damn about trends or scene and it's demands. This is a temporary capsule from the past century. Accept its contents as is or do not accept at all.<\/p>\n

The recording of the album took place almost 20 years later - in September 2017. Radzim was in charge of it, so it's almost impossible to guess that it's a modern record. Except for the too high-quality sound of the programmed drums; to be honest, I was sure that everything is real, until I looked into the booklet.\u00a0The design of the CD release<\/a>\u00a0keeps pace with the music: against the background of the overall beauty, there are texts in black on a dark gray background, or two pictures with absolutely different quality on the same page, and so on. Underground! You can look at everything in the details\u00a0on a video<\/a>. While we were struggling with the source files and suffered from a lack of funding, WEL managed to agree with Depressive Illusions Records to release their album on cassettes. The release took honorable 3142nd position in the infamous label's roster but it came out a month and a half earlier than CD version. CD version can be ordered by following\u00a0here<\/a>.<\/p>\n

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