There exists certain sounds that unfurl the mind, rendering it exposed, naked. Yet it is through this act wherein art allows itself to be truly consumed, for it is like pressing the mud of the earth to the bare skin, allowing the sun to stiffen it against the flesh…through discomfort , pleasure may be unveiled, and through pleasure the may may seek to peel itself further beyond.
‘Rites ov Flesh’ by Cvinger represents an incantation woven from the bones of Black Metal, where the marrow that runs deep becomes rank with the ceremonial stench that permeates through sound, in similar manner to such entities like Lvcifyre and Nubivagant. For it is like the gauze that drinks upon the soaking pulsating wound, becoming pendulous in weight, so too does Cvinger consume in splendor as both the essence of Black and Death Metal are integrated and stains its very being.
A psychedelic yet transcendental aura is conveyed through the guitar’s expulsion, whereby its tonal transmission shifts between a thin-like resonance to a thick orphic and fervent tone, exhibited on tracks such as ‘Rite IV – To Call Upon the Bog Spirit’. However, it is the juxtaposition of the strings which grants unto the album its fluid nature, for it is like a deity with many limbs outstretched, where each appendage signs a unique sigil, yet they coalesce into a cohesive spell. So too in rhythmic motion do the guitars morph and meanders as the current of energies bleed into each other.
In following with this flow, the percussive elements on the other hand becomes a natural extension of the guitars, for if the strings are the spell that be woven, then the bombardment of the drums would be the physical chaos that is transmuted from this tenebrous current made tangible. There exists a bombastic resonance to the drums as each beat feels as though it sinks into the very earth of the album, as though one can place the palm of the hand unto its impression , feeling the depth. ‘Rite III- To Conjure The Infernal Storm’, is a track which explores this surge of energy, for together with the production, an equilibrium is achieved whereby the ambience is not quite polished, yet the raw-like elements suffer not in appearing crude and jagged, thus, masking the drums in a more ritualistic spirit, echoing and digging into the atmosphere with unbridled rage.
An abstract sensation emanates from this offering which takes the form of the vocals, for like the guitars which twists and coils, the tongue of the album also curls in a similar fashion. At times the pattern that is adopted appears unpredictable in nature, like an afflicted soul that lashes and writhes in agony and ecstasy, where there is no rhyme to the motion. The antithesis between the harsh vocals and somewhat clean vocals evokes a prophetic yet harrowing experience, further strengthening the occult atmosphere, through tracks such as ‘Rite I – The Temple of Nine Gates’ and ‘Rite IX – Abomination’. This aspect of the album becomes the zenith, for it is the jewel upon the mantel that graces the art for the senses to gravitate toward in a bewitching experience.
In obeisance, let the crown bow before the splendor of Cvinger, as the mind becomes subservient to its gospel. For through total submission, let the soul be the alms, and the body the abode, let the art dwell within , let it transfigure the clay of the mind in its own image. For in shaping, after the calloused hands have been withdrawn, the impression and experience remains.
