Published: February 21, 2014

Imagine for a moment a woman of infinite class that walks you to the top of his oversized heels, impeccable maintenance. It arrives at your height and loose a loud burp. The woman remains beautiful, but it still loses a bit of glamor. Another similar situation: you are in the restaurant and you ordered a " medallion partridge in sauce juice frozen truffle ", it throws. The server brings you, you are about to eat when you notice that there is a very dark curly hair and over. It remains a medallion in his partridge etc.. etc.., but still, the hair there ... 

 

Well Nowhere fourth album Iranian project Ekove Efrits is a bit like that. A mixture of high class party marred by black metal at best without added value, rather incongruous to worse. I must say that if the trip-hop mix, ambient and post-rock is pretty well designed, incorporating a dose of black metal to all - not the one who face not rather slimy black or genre Agalloch The Great Old Ones - is a very difficult task. The trip-hop, this is delicate, cold of course, but delicate, the beats are fragile and add them something crappy, it's complicated. Spektr not do too badly out of Cypher , Count De Efrit, the man behind Ekove Ifrit seems to have more talent in the composition of bright parts, but fails completely in the metal. Consequence: the best title is "Infinitesimal" a gem worthy of a 100th Window , where an incredible purity Count De Efrit transformed into David Tibet sharing the song with a lady at the beautiful vocal organ, such Sinead on "In the Name of England. " The final duet "At the Gates of Oblivion" / "Belong to Nowhere" in a very pictorial post-ambient registry is also delicious (and it contains some disturbing sounds great views). 

 

Common point of these pieces: they do not contain black passages. The latter voluntarily dissonant passages with trip-hop, are more interesting on "Sword and Wound", a little awkward on "One Truth One Confession" that's still a strong enough title (despite a late water coil ), but fall right next to "Public Theatre" or "Parallel Presence" (the final blast, then what is it?), ruining blow the credibility of these two pieces. It's really annoying, because like Silent Path, another project of the Iranian melancholy, Count De Efrit excels in the year to portray an atmosphere corresponding to a rainy afternoon autumn, showing a fascinating sensitivity ("Blessed by Nature" is an interlude of a simple and touching beauty in the near Stoa of the style). The artist remains free to create what he likes and if some inner demons require it to make it more " dirty "a copy that could be crystal clear, we can only accept it. But if these horned beasts could go for a ride elsewhere and go haunt groups trve black, not many people would complain no. 

 

Much like the enigmatic Vertebra by Australasia, there is little left and chronicled in these places , Nowhere is an interesting work that attempts to reconcile what is difficult to reconcile (ie pure and cold lightness of trip-hop beats and how the roughness of a soft black, but black anyway) without completely arrive. Ekove Efrits nevertheless gives an idea of the extent of the class of one-man band Count From what Efrit when it comes to describing a musical atmosphere. The second part of the album, leaner in-black metal sound, a very good level, even partially forget early album quite indigestible. Nowhere is therefore generally visit, until finally the irreconcilable or reconciled.