Noise Shaft

Noise Shaft

KAVA – Shikaakwa review

Year : 2013
Genre : Doom Metal, Psychedelic Rock
Origin : United States
Official site : > – here – <

KAVA brings you the music that fills responsible dads with the relentless urge to hide their daughters in the closet with earplugs attached to their appropriate orifices. This is a take on doom metal that definitely comes from the blackened heart, with an uncompromising determination to offer only such elements of doom eloquence that assume you to be a competent and exigent partner in the music deciphering process. The complexity and compositional/structural base is delightful per installments throughout, while the most prominent directive of what makes doom truly harvest your dopamine levels, is communicated with a pretty much masterful understanding of the involved productional rhetorics. The album is not particularly heavy sounding, – and thank God & Satan for that! – and this, in fact, is the reason why Black Sabbath is so timeless, too. It is not the sound that needs to be heavy, but the “mere” meaning of the sound. You can’t substitute the meaning with weight, and, once your meaning is there, everyone will relate to it, you don’t need to over-emphasize. OR not always. KAVA understands this connotation, and exhibits its craft accordingly. The music either dooms about with majestic promise of the imminent soulcrush, or, it gets deceitfully spaced out in an almost transcendental fashion, giving you apt opportunity to reflect on the sight the tinkering of decay so willingly offers. “So ecstatically pleasing decay”, the Meshuggahs would say. Read on to know more about this spin.

The album offers some points of momentary relative respites in its fabric, yet these are only promises of a hope of your escape, – there is no way out alive, and we probably should be grateful for that – and the right to crush these hopes at will, is maintained uncompromisingly. If and when inspected as a full value spin, a trio of narrative behaviors is observable : the zoned out-, contemplative narration – flattered nicely by haunting arpeggios – is interchanged with more intense mid-tempo patterns of cosmic level soul crushing, as is the way of conduct revealed in the great track “Tornado”, for example, which also serves as the gravitational center-point of the whole experience. Via the third set of narrative machinations, the band occasionally reveals tints – and not more – of dawn era trash metal, but these are very brief, yet very efficient moments.

Notice the performance of the lead singer at the middle point of the disc, for example : he does not sing all THAT much, but when he does, it is superbly ballsy, without him getting over-excited. If you are a doom singer and you are over-excited, then you fail successfully and I notice it. There are certain rules you need to abide to in this field of truly skeletal doom music, both as a singer, and, as an instrumenter/player. Once you do, there is no other option offered than to come up with legitimate ideas that are able to coat these beautifully horrifying anti-anatomies with the tints and types of ornaments only a willingness to suffer legendarily, can offer. You need to dive deep into the shadowy vistas of the psyche for these patterns, and this disc did this job, and now presents the results for your listening anti-pleasure. Anti-pleasure is the goal, mind us! In the process, you are healed, if you have talent. Now that you have summoned and drew these demons, you can puke them out, which is much more beneficial than to sleep with them. Listen to the singing at the late 20s mark! The lead singing deliberately relies on notes that are out of the current scale, thereby implementing a sense of masterfully communicative dis-ease, and you can not fake these things, until they are indeed yours at an intimate secretive level, IF you want to show them. If you don’t want to show them, then you invite me to be suspicious of what exactly you are hiding from me. As long as we are talking about art, it is more ballsy to show what is up. That is why I think that the only thing that should be banned is all the fearful people who demand shit to be banned.

I already have addressed the anatomies of the disc, yet this bears further mentioning, as the release, I feel, is worthy to be regarded as a superbly constructed beacon for all the aficionados planning to venture to these ever-decaying sonic vistas. Immerse, soak your ears into these doomy skeletal sounds, that are so beautifully devoid of attention seeking and overblown volumetrics. The whole album is very soulfully made with tremendous respect given to each sound revealed – you can beef the volume up enough so even the gods start to hear it, and the sounds remain intact and non-harmed in the process. The spin is of exceptionally organic, and live quality. They are practically playing in your room, and if this not excites you, then I don’t know what to tell you. All these splendid effects always are obvious hallmarks of a meticulous and stone-cold sober production work. It is a true and relatively rare privilege to soak into a doom release that affects without its intent to affect becoming observable. The suffering on the disc is eloquent, even legendary! Not everyone has a talent for suffering. KAVA’s latest is a quite pleasant surprise, and an immediate recommendation for all aficionados of the original-, Black Sabbathian niche of rampant/evident sonically skeletal classic dooming.