Requiem — Provenance

Pittsburgh's David Graham has been recording and performing as Requiem since 1996. Provenance is Requiem's eighth release and the first release with ConSouling. Musically, the project fuses many genres from doom to neo-classical to noise, and does so in a very grand, movie score like fashion. Provenance has a little something for everyone, and lots for those that like it all.

Set aside a good chunk of time for this album, because it's wicked long. Clocking in at over 78 minutes, Provenance is definitely a beast. Fortunately, it doesn't feel its length (for the most part) and the subtle changes in style keep the listener interested and wanting more.

"Lachrymose" starts the album off with thick, sparse strummed bass and thoughtful, meandering guitar work filling in the voids. The effects and loops wax and wane from cycles of self oscillation and feedback to softly reverbed decay. About three-quarters of the way through, heavy, almost industrial drums start to pound. Scratchy, quickly oscillating synths wave back to front and high pitched squeals rear their heads before distant, tortured vocals scream over an almost churchlike processional. Fifteen minutes may have been a bit much to get there, but who cares, 'cause it's awesome. "Addendum One" seemlessly picks up the dark but beautiful ending of "Lachrymose" and takes it in a thicker, calmer ambient direction. After the final surge, the song starts to break apart and strings become audible. Not only is it a great way to tie back into the first track, but it also starts off "Abeyance" in a similar, connected fashion. The guitar and bass play very much like "Lachrymose," although a bit quicker and with less empty space in the back. This track is nice and full and I don't even mind the silly, early 90's  fantasy RPG synth strings. The female (?) chorus really adds an epic scope to it, too. Things take an interesting, but necessary turn on "Addendum Two." The human songs give way to a low, brooding, detached soundscape. This brings it all together by adding some lyrics of really primal human emotions. A familiar friend in the guitar comes back to greet us on "Lament." While not as full as "Abeyance," it is hardly thin. It's quite nice, actually, to get more focus on the guitar riff that follows the high, fantasy synth. That is until the lament begins. Demonic screams over hellish drums and near insect swarm drones bring the listener into the climax of the album. This radness continues for a few minutes before fading out and getting back into the guitars. The softness of "Addendum Three" is a nice juxtaposition to the brashness of "Lament." And for me, it works very well as an ending. With the titles and general feeling of the album, one can see a story unfold. For me, the screams in "Lament" symbolize the subject's final straw and subsequent suicide. The guitars that end the song are the last we hear. Presumably, that's because the guitar IS the subject of the album, but I could just be grasping here.

Provenance is my first encounter with Requiem. Having missed his local appearance a year and a half ago, I guess I just kinda forgot to check him out. This is a solid release and I will definitely be looking forward to more Requiem in the future.