Mesmur have always created the kind of doom/death metal that sounds otherworldly, rather than grim and morose and I’ve championed that. There are enough Saturnus clones out there as it is and it’s good to see an artist lifting me up and throwing me into a strange world that builds with every piece on the album. In this case, there are four of those, which is more than enough when you consider the fact that all of these tracks pass the ten-minute mark. Opener “Terra Ishtar” encroaches to nearly twenty and I’m sure that if given more time, that might have just happened. Synths are a huge part of the act, as they build the universe we explore within these four movements, which I will briefly demonstrate.
The album begins with “Terra Ishtar” as I stated before, though it come with a spectral resonance, as it were. If you’ve ever seen a Nova documentary, I could describe the effect here as similar. It does no remain that way though, as thundering doom riffs and an a veritable feeling of unease makes itself present further into the listen. The vocal filter effect that I’m noticing here also bring sort of a cavernous feeling to the mix, which makes that part of this disc seem like it has been made up of transmissions from a being who may very well be trapped on one of these alien worlds that are being sonically described through the music. “Babylon” continues that feeling, though actually does enter slightly darker territory than the band’s previous recording. Orchestral sections do manage to make a statement here, though it is too minute to be understood and is largely forgotten up until the end of the piece. The same might be said of “Eschaton” which seems to murk about in the already grimy territory laid by “Babylon.” Obviously, this is a very different kind of album and seems to press hard on the doom elements, making for what can certainly be a frightening, yet enthralling performance. “Caverns Of Edimmu” brings in more synth action, adding to the dreary orchestral compositions laden within. Towards the end of the cut, they almost feel a bit proggy and actually seem to work in the band’s favor.
Ultimately, there’s quite a bit to like here as no one does it quite like Mesmur when it comes to exponentially atmospheric doom/death. Though Terrene is more gloomy than the band’s previous effort, it still remains true to what makes the band stand out and I’d recommend taking this journey in whatever form you desire, just so long as it is in a place where you’ll not be bothered. It is a very immersive experience that feels like the the death knell of an alien world that we can only grasp partially, in short musical glimpses. There is a very good chance that Terrene is referring to our planet and it’s downfall, but I doubt we are the only world that has seen great turmoil and eventual collapse.