Regular visitors to the site should already be moderately well acquainted with the lonesome guitar-based sonic manipulations of a death cinematic. I’ve followed this enigmatic artist’s career as both musician and craftsman for some number of years and watched the entire concept and focus of this artistic endeavor grow to engulf its prior self time and again. This project seems to be the musical equivalent of the stacking dolls. Each album seems to grow upon the album before it in both musical and visual scope.
Here we see three tracks, each familiar to those who have tasted the bitterness of a death cinematic’s droning melancholy that still manage to enter new territory. Similarly, this album’s packaging, like most other a death cinematic releases, demonstrates the sole member’s skill as a visual artist and craftsman. One interesting aspect of this man’s music is that every aspect of his art and internet presence further contributes towards the overall appeal. In a world where so many people “just listen to the music” without considering the message and the artist’s personal intent, it seems that a death cinematic intentionally defies this. Rarely would I make mention of Instagram or general social media presences on this site, yet a death cinematic’s account frequently depicts a bleak and foggy lens through which the artist clearly views the world. Power lines, trees, and fields all become a depressing and elegant collage of a life both monotonous and subtly beautiful. With these images in my memory, it’s impossible not to hear a sense of longing and isolation that feels distinctly culled from the world of rural North America.
Opening track “death for aeronaut” serves as the album’s main piece at 24:34, nearly twice the length of its two companion tracks combined. The length of the piece allows for a far slower and more delicate layering of sounds than a death cinematic has displayed in the past. At first the notes simply blur together, but further listens have yielded a vibrant sonic fabric that is simultaneously euphoric and pensive. Around fourteen minutes into this beast, the music has turned to degrading static that, while clearly created by a guitar, is less melodic in nature and more of the kind of sounds you just feel on a gut level. If there’s such thing as a peaceful slip into oblivion, I imagine it holds the same balance of tragedy and calmness that a death cinematic has created. The remaining two tracks carry a stronger sense of motion yet retain the same shimmering melancholy that seems to be this project’s trademark and are less busy than much of a death cinematic’s catalog. If anything, the gently strummed guitar on the title track is one of the most stripped down and simple things I’ve heard from a death cinematic, yet the buzzing echoes of static in the background hint that he hasn’t lost sight of his overall direction. This album certainly displays more of a minimalist approach than I’ve previously heard from a death cinematic, and it’s a fitting testament to the true musical mastery of this artist, as it easily surpasses most other recent drone releases I’ve heard with its carefully planned variations and subtle yet discernible layering.
The album sold out almost immediately upon its release, but the music can still be heard through the artist’s bandcamp and I’m including as many images of the album art as I can get my hands on. Each is sourced from the artist’s own storenvy account, as none of the photographs I’ve taken do nearly as much justice to the delicate care a death cinematic/simple box construction has taken in piecing this release together. Take this in and brace yourselves, as this EP serves as a precursor to a planned full length release.