Funerary Call — Dark Waters Stirred
“With Curse” starts with clanging sounds, howling winds and raspy breathing. Its David Lynch meets MZ412; all full of scratchy ambient, dissonant violins and heavy feedback on guitars and bass. We have a stark, creepy and thoroughly unsettling beginning to our journey. “Words Of Power” continues on with the heavy feedback (as it does on most of the tracks) but this time static and echoing sounds, with addition to a tribal percussion provided by Nathan Funk, sets a claustrophobic tone. Like unaware prey being stalked by a predator we continue.
By the time “Miasma” kicks in we are familiar with the noisy guitars and crackling static. MacFarlane blasts that familiarity with a wall of reverb. The feeling he creates is one of primeval darkness, interspersed with decay and isolation. “Equestrian Seals” give the feeling of sound moving toward us. A lone violin sounding lonely and defiant soars above the screeching background noise. All this in comes together with a short spoken word piece by H.E.R.R and Seelenlicht member, Troy Southgate.
“Dark Waters Stirred” features more of a harsh wall noise influence (somehow it reminded me of Stratvm Terror). The pounding, unrelenting noise sounds caustic and explosive. Recordings of water are used effectively, giving the feeling of drowning. “Crown Of Iron” is a drone of noise yet sounds are exquisitely fragile. The death-like atmosphere washes over us shrouding us into a world of chaos. Each sound writhes, crushing our senses and with the chanting, repetitive vocals of Ross Birdwise it makes for a massively compelling piece.
For the past 17 years Funerary Call has been one of the progenitors of black ambient. On Dark Waters Stirred this is apparent from the onset. We are submersed in a dark, ritualistic environment that is unyielding and unapologetic. It truly is a mentally, physically and spiritually draining creation. Yet it is a ritual we gladly share in and relish the opportunity to become a part of it.