This year alone has seen a cavalcade of releases from them, more than any other contemporary artist in one year that I can think of!: Daughters of Darkness (5-cassettes), Daughters of Darkness V, TwinSisterMoon’s The Hollow Mountain album and Bride of the Spirits EP, Isengrind’s Journey of the 7 Stars, and most recently Shadow Kingdom.
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Shadow Kingdom starts with “The Fall of the Shadow Kingdom”, a grandiose, 24 minute track evoking the a similar sparkle to that of the title track from Daughters of Darkness, such a deep, entracing drone that the time seems to zip by.
It is also evident that something new has happened with their recording technique, as it all sounds clearer than ever and subtle sounds seem to be more evident. “Gorgon” is a soft, lovely track, leaning into the more folk-oriented material found in TwinSisterMoon’s solo work - I still hesitate to use the genre label of ‘folk’, because despite the acoustic guitar and certain folky motifs, this is still very ethereal work we’re dealing with. The three song suite, and one of my favorite sections of the whole album “The Fear They May Come Back / Childrens of the Seventh Circle / The Dark Road” makes the transition from a delicate, melodic piano with drone-hum to a spaced-out interlude to a quiet, guitar-oriented outro, a peaceful, yet icy feeling throughout. “Cauled Ones and Birth Rugs” brings the mood up to a somewhat sunnier place, even becoming festive towards the end upon listening to this point, I’d hope you’d be getting to know what I mean by what I’ve said before about the group’s music seeming to have a “near-spiritual” effect! “Salty Tongue” carries on the lighter mood, ending with acoustics and vocals. “Go Away, Disappear” turns the tide towards more melancholy shores, and is another stand-out here amongst an overall fantastic album, and proves yet again how powerfully emotive Natural Snow Buildings can be. “Os Deus Cannibais” ranks on the same level of intensity of the first track here, delving into spookier territory - it’s another long one (around 13 minutes), yet every second is used wisely! “The Faceless” is another dreamy acoustic track, also serving to break up the sheer force of the more strongly drone-based songs, leading into the spacey, haunting “The Crystal Bird”, which concludes the first disc.ĭisc two begins with “Sunbone”, a gentle, breezy opener that serves as a buffer for a colossal three song suite, “Ghthonian Odyssey/Hell’s Foundations/A Birth Mark Like A Scar” this track more than any other blurs the line in one’s mind as to whether this could be music from a strange, exotic land or another planet altogether! “From Their Body at Will” continues off into the astral plane, rolling along in its mellow way. “The Desolated/Vampires Introduced To Fear/Slayer March” finds the listener trekking on further still into the unknown, the unexpected twists of instrumentation and the layering (always a strong point for Natural Snow Buildings) still catching me off guard even as I’m listening again. “The Vein of Invisibility” is another rejuvenating breather placed between the all-consuming drone, as the next track, “Porridge Stick Into The Fire And Dust In The Direction Of The Sun” is quite seriously chilling, reminiscent of The Slayer of the King of Hell, but taken up an extra notch.
“A Burial at Sea” ties-up Shadow Kingdom in a glorious, befittingly atmospheric way.
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