'Analog Witch'
Porl King, formerly of 90's goth rockers Rosetta
Stone and post-millennial solo project Miserylab has been crafting
more witch-house influenced sounds over the past few years with his
latest incarnation In Death It Ends. Musically the predominantly
instrumental project blends the gritty bass groove of early post-punk
/ prototype gothic bands with the avant-garde edge of more recent
acts such as The Soft Moon and Mater Suspiria Vision with their nods
to krautrock and psychedelia.
The new album, 'Analog Witch' continues the unrelenting pace of King's output under the In Death It Ends moniker, and shows an increasing tightness and definition of the projects identity. It is still, first and foremost, atmospheric in it's intention. Tracks such as 'Acheron Drift', 'Conducting The Shades', 'With Tears And Pain', and the sumptuous finale of 'Reach The Beginning' provide an essence of cinematic gravitas that most bands aim for but often fall short of.
The album retains a post-punk charm in the up-tempo and rather danceable numbers like 'Time Underground', 'The Nature Of All Things', 'Taken Across' and 'House Of the Wild Gates' which give the album and easily accessible entrance point for those new to the band. It's a nice mix that in one part entices the audience to move before inviting them to simply sit and listen.
There's a lo-fi sensibility to the approach, but none of the misplaced sense of underground credibility of bad production that often hampers artists. Instead the production continues to sharpen with every release and the mix nicely balances the multiple layers of dark ambient atmospheres, psychedelic electronics and driving grooves. The sparse use of vocals is particularly effective as they slither through the rest of the instrumentation when deployed.
In Death It Ends has come a long way in only a few short years. The song-writing is fresh and interesting, and it's execution is hard to fault. With albums like 'Analog Witch' as well as previous offerings like 'Occvlt Machine' and 'Forgotten Knowledge', In Death It Ends may very well eclipse King's previous projects.
The new album, 'Analog Witch' continues the unrelenting pace of King's output under the In Death It Ends moniker, and shows an increasing tightness and definition of the projects identity. It is still, first and foremost, atmospheric in it's intention. Tracks such as 'Acheron Drift', 'Conducting The Shades', 'With Tears And Pain', and the sumptuous finale of 'Reach The Beginning' provide an essence of cinematic gravitas that most bands aim for but often fall short of.
The album retains a post-punk charm in the up-tempo and rather danceable numbers like 'Time Underground', 'The Nature Of All Things', 'Taken Across' and 'House Of the Wild Gates' which give the album and easily accessible entrance point for those new to the band. It's a nice mix that in one part entices the audience to move before inviting them to simply sit and listen.
There's a lo-fi sensibility to the approach, but none of the misplaced sense of underground credibility of bad production that often hampers artists. Instead the production continues to sharpen with every release and the mix nicely balances the multiple layers of dark ambient atmospheres, psychedelic electronics and driving grooves. The sparse use of vocals is particularly effective as they slither through the rest of the instrumentation when deployed.
In Death It Ends has come a long way in only a few short years. The song-writing is fresh and interesting, and it's execution is hard to fault. With albums like 'Analog Witch' as well as previous offerings like 'Occvlt Machine' and 'Forgotten Knowledge', In Death It Ends may very well eclipse King's previous projects.
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