As good (and dark) fortune would have it, I absorbed Adarkah Ianqu's The Door. As such, I entered a series of incredible, industrial sounds that left me spellbound with coddling doom.
Of its six, sense-jangling portals, "sisterhood" may be the fiercest, initiating the album with a militant stride, though with enough early ease to inspire one to join. Thereafter, the anguish mounts, bringing to mind the sort of regret that ensues after a devilish pact has been signed, with no way to untangle its confines.
The album's most epic (and therefore, defining) set is "smoking some strange flowers" and "strange flowers (demix)", in which harsh surrealism runs wild through factory dirt and grim. The track's effect is numbing yet nightmarish, reminding one that no matter how hard one puffs, the underbelly of the beast stays supreme.
"Hipup" and "tot" are just as aggressive in their dynamics, with the former playing dry and rough and the latter invoking undersea claustrophobia. Neither offers much relief, but the weirdness is so divine, why bother to escape?
The final track, "and the rain" is a cunning conclusion, for its "melody" hits hard with each slave-whipping patter. As with a well-publicized storm that promises drawn-out destruction, one's heart can't help but jig along to the nihilistic beat: One is little more than a cog in an ill-oiled machine, grinding forever within damned overtime.
Ianqu's passages keep one anchored, never giving one the chance to gasp. It's a small price to pay for the audio experience: a roller coaster of thudding doom that one can't help but (re)travel.
Open "The Door" at
https://adarcahianku.bandcamp.com/album/the-door?fbclid=IwAR1af5S1DcV6dHGgFGmCi-O7ZttkUWgxg8EL7nFjSc4PtlbQ-8gFmM1RRMU.
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