The Cold View
Having not been familiar with either of this German funeral doom act’s two previous works, I am just going to go from what I’ve heard here and to be honest, I have mixed feelings about this one. The first thing I want to address on this album is it’s length. The record began interestingly, with heavily creepy synths, hard-hitting bass nodes and powerful, cavernous vocal roars. In fact, Wounds sounds like everything that you would expect from a doom/death album, except that it seems a bit more stripped down and experimental – which I actually prefer more than to bands that perform a similar approach. As I’ll reiterate, things got rather spacey, making me feel like I was in some sort of hostile alien world and not quite in the melancholy of a cemetery, which was a plus. Lyrically, the record is supposed to be a bit deep, but you couldn’t tell that from the way it sounds. Obviously, Lovecraftian images popped into my head as soon as the opener “Homeostasis” came into play, and although that is probably the last thing that frontman A.A.S. wants me to take away from an album based on the inner workings of a human, somehow or another I still managed to think of slimy beings from the netherworld. Keep in mind that this record is highly synth based, and like most funeral doom records, it comes in at a very slow and dreary pace as well. There’s nothing quick and in your face to be found here, and that’s for good reason.
It really isn’t until “Proliferation” that we begin to leave outer space and start hearing something more traditional and much like those baroque tunes that you’ll hear in early Resident Evil titles, but it’s great to hear that the artist did a bit more than just take us out into the stratosphere for a while. Bringing me into a dimly lit Victorian mansion soon makes the ominous organs present in “Epithelialization” sound a bit more inviting (even though to most commonfolk, this kind of music would be the direct opposite of that) and feels perfectly completed with the combination of the nearly ethereal “Scarring” which really should be the last track on the album. Unfortunately, I feel that Wounds may have overstepped it’s boundaries on the nearly fifteen minute closer, “Maturation” and by that time I had grown a bit weary of the approach. When you have to kind of stop what you’re doing for a moment to check to see if the album is still paying after you would have long expected it to end what felt like twenty minutes or so ago; there seems to be a bit of a problem. All things considered, that’s still not even roughly large enough of a issue to care about and for the most part, listeners of funeral doom are getting exactly what they want from this slightly experimental funeral doom album. Just keep in mind that Wounds moves at a snail’s pace and never quicker, so don’t think of it so much as a “heavy” record or a “death metal” sort of record and picture it more as a bit of a gloomy atmosphere with some added bells and whistles, and you’ll get a better understanding of the performance.
Wounds is the very last album in The Cold View’s long-running trilogy, so if anything that I’ve said here sounds appealing to you, then you’re going to want to pick this one up as well. I’m sure the lyrics are quite complex, but I can’t make heads or tails out of any of them unfortunately, so I’m hoping that maybe you can and that you’ll give this album a purchase if you’re looking for something truly discomforting. Judging by the state of things in this era, it might just be a fitting soundtrack.