{"id":1925,"date":"2023-06-14T23:58:32","date_gmt":"2023-06-14T20:58:32","guid":{"rendered":"https:\/\/bagnik-zine.net\/?p=1925"},"modified":"2023-06-14T23:58:32","modified_gmt":"2023-06-14T20:58:32","slug":"%d1%80%d0%b5%d1%86%d0%b5%d0%bd%d0%b7%d0%b8%d1%8f-dekonstruktor-eating-the-universe","status":"publish","type":"post","link":"https:\/\/bagnik-zine.net\/en\/arch\/1925\/","title":{"rendered":"Review: DEKONSTRUKTOR \u2013 Eating the Universe"},"content":{"rendered":"

Year of release:<\/span>\u00a02014 \/ 2017 (this release)
\nLabel:<\/span>\u00a0addicted label<\/a>\u00a0\/\u00a0Voron NEST<\/a>
\nRating:<\/span>\u00a07 \/ 10<\/span><\/p>\n

I was superficially familiar with DEKONSTRUKTOR even before I received the package from an unnamed label, as their newest album was released by Hymn of Apocalypse created by the owner of Cold Breath of Silence, and some smaller releases were printed by Pestis Insaniae. In addition, DEKONSTRUKTOR is connected with the Black Metal scene in terms of radical views - at least, I got this impression of them. \u201cEating the Universe\u201d is the band's debut, released 5 years ago in digital format and on cassettes, and then reprinted by two labels on CD (and released again on cassettes, and again in digital format). The strong side of CD release is that it alone contains the full version of the final track, lasting a little over half an hour. On cassette editions, it was reduced to 18 and a half minutes.<\/p>\n

The lyrics to the album, replete with vivid images, still do not push the main message too deep: consistent, complete\u00a0deconstruction<\/em>\u00a0of the universe. This, most likely, is about \u201cpersonal space\u201d, but for the one whose inner universe is eaten by worm, there difference between micrososmos and macrocosmos exists no more. The musical part tries to keep up with the theme. Technically, this is stoner doom metal, but its execution and emotional palette are more reminiscent of sludge. There is no frivolity, no invigorating rhythms, no positive vibes. Pulsating riffs create an uncomfortable feeling of constant tension, negative energy is pushing from the speakers in a continuous stream. This is quite depressing and hard for your brains, but I think this is exactly what the band aimed on. Only the semi-punk track \u201c14\u201d is knocked out of the general canvas, but everything else is done according to the rules of a gloomiest doom metal, stripped down to the extreme. The sound is crude and primitive: most likely, the songs were recorded in \u201clive in studio\u201d mode. Here and there, obvious errors of play are encountered, but I welcome this - sloppy execution is fully consistent with the misanthropic nature of DEKONSTRUKTOR. The vocals were recorded from somewhere far away, which reminded me of St. Petersburg MOROK, who, in turn, was guided by the oldest recordings of Norwegian ISENGARD. An exclusive piece of the final track, mentioned above, is 12 minutes of ambient, simulating radio signals directed into space, and at the end it turns into a wild rattle and noise.<\/p>\n

I see the disadvantage of the album is that it is determined exclusively by the atmospheric-sensual gamut. A less impressionable listener, most likely, will not find nothing special here. Music as such is not a strong point of \u201cEating the Universe\u201d - it is a very straightforward collection of compositions. The most important part here is not\u00a0what<\/em>\u00a0they play but\u00a0how<\/em>\u00a0they play it. While the evil cosmic radiation of the album will affect you, you will listen to it. But when you get used to its radiation, you are unlikely will get the CD from the shelf again. The CD, by the way, is also published rather plainly - with a 4-page booklet - but in this case this is enough. Details\u00a0on a video<\/a>. To achieve perfection, publishers should have released a print run in red tray jewel cases. Trademark black and red design of DEKONSTRUKTOR would look just killer in such cases.<\/p>\n

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