This full-length from the Swedish duo of Jakob Berglund and Erik Nilsson is one that should appeal to fans of the post-rock/metal style employed by the likes of Isis, Red Sparowes and fellow countrymen Cult of Luna. However, they're slightly more subdued than the aforementioned artists for the most part and, one could say, altogether more darkly ethereal in outlook. Tracks such as "The stand" and "Repeater" display their penchant for slow, trawling, disturbing passages, while "The worms are out" reveals the band's more caustic side -- a side that should really have been explored to greater depths in this album. The problem is that they've gone for the lethargic, almost depressive approach throughout "Zenith" and have left very little room for the abrasive elements in their sound. And, while they do depressive to perfection, they really do shine brighter when they come out with guitars and vocals blazing. It's not to say that the entire album should be full-on metal mayhem; rather a few more parts here and there to stave off the inevitable boredom that comes with sitting through so much inertia. So much potential, yet sadly wasted. - John Norby
I'll say one thing for Stockholm's Kausal: they've got the potential to make someone a lot of money. See, listening repeatedly to "In dead cities" has made me realise that there's a niche market ready for the budding entrepreneur to exploit. Here's the basic pitch: buy the rights to "In dead cities" and then start up a new label that proclaims to have the cure for sleepless nights. As word of its success spreads, millions of baggy-eyed insomniacs will begin to scoop the album up until demand is such that outlets will barely be able to keep up with orders. $$$! Okay, maybe that's a bit harsh. Kausal are an alright band in that whole ponderous, shoegazey universe that they reside in and they do have some moments of... alrightness... But, bloody hell, it's tedious stuff. There are some genuinely nice moments on the album, it must be said. You know those moments when you hear a guitar part and you think, "Oh, wow. Now that's a cool little section," and when it ends you kinda wish the band had played it just that tiny bit longer? You don't get those on "In dead cities". You get the, "Oh, wow. Now that's a cool little section," alright. But, instead of wishing it would run a little longer you find yourself thinking, "Jesus, is this ever going to end?" And it never does! Or, at least, it seems that way. I definitely found myself gazing at my shoes more than usual after listening to this, but that was because my head kept dropping as I fought to stay awake for the whole forty days -- sorry, minutes -- or so of this album. Way, way, way too boring! - John Norby
Isis announced their impending breakup last week which leaves a vast emptiness in the world of post-metal. Who will fill the void? Perhaps it could be Kausal -- they're one of the few bands I've heard of this ilk who seem to be charting their own path rather than stride down the tired, tried and true. Like countrymates Logh, they take many cues from solemn art-pop and evoke much of that band's same dark loneliness and longing, but they take it in a different direction by building on heavy repetition and incorporating subtle elements of improv. "Evac" shows them at one of their most accessible moments, as much of their debut album "In dead cities" is built on sprawling instrumentals, but there is still plenty of oomph in their sound, most notably in that huge kick and that cyclic and-one-and rhythmic pattern. The heavy mood is crucial too; in fact, I'd even say that's the most important aspect of getting this post-metal thing right. If you can still feel the weight of darkness pressing down during the most lush or quiet moments, you win. Kausal does, thus they earn my praise. I've generally felt positive towards everything I've heard from before, but this is by far the best of the lot.
A Swarm of the Sun
Kausal
