KARNA
Raven + Omega (EP)

I received a CD featuring both works with the latest Karna's tracks, and I'm sure they will be printed sooner or later. "The Prologue" is just a fast moment inside the barrel of oxidized anxiety, just a brief taste upon the 'tombish' see-saw prepared by Karna as a trick to attrack lives. Quickly continues "The Raven", where giant scissors are able to destroy our person, piece by piece. This time we find texts, speaking voices which fit well with the work, surprisingly the track shows rhythm again made by drums and a sort of supporting bass guitar. This leads to the emancipation of heavy guitars (as made by effects) and atmospheres in a more industrial way. This face of Karna, almost unknown till now, is well structured showing a profile of madurity and still showing their roots and preferences for the tunes of obscurity. "Inside the Dark" is nothing but the clear confirmation of the affinity of Karna with the real Dark. A hall of coldness and hopeless visions are showed here, all packed in a coffin of bitter memories whose actor are no one else but ourselves. All pain and fatal destiny are mirrored within this picture of horror without forgetting 'salvation' or 'love' are only symptoms of your deluded mind-programming. This track advances with the slow pass of a modern Metal march, well encopassed by keys, winds, and a fast/aggressive guitar background similar to -may be- a mid tempo version of Misticum. Tracks like this mix the frozen halo of Black Ambience with the cold blood and grim breath of the new styles of Black Metal thus creating an ode of majestic mystery. Great work, great keys, geometric structures giving a lesson of mathematical reason on how to capture the potency of Darkness within an assembling of musical notes: this is the 'positive-right' view of the radiography of what Karna played on the "Diabolic" album, different style, same Darkness portrayed. "Wings cut the Air" is almost 'celestial', stuff for the clouds above, life escapes through the colossal hole in the sky and human can do nothing but dying; this track is so impressive, so great, so Karna, full of ideas and messages which can't be understood until you realize where is the point of escape inside your bubble of idiocy. Excellent work on piano effects, drum (either programmed or not), and atmosphere.
A real travel upon the wings and beyond. "Over the Abyss": a circling around the Manichean guilts of those the mindless ones who perform exhaustive routines against the attracting mass. Polarities and frequencies meet here just to cheat the standard believer. Even this track is adorned with screams and growls, something Horth makes quite well. Ambience is mixed with industrial stuff through the whole track, a real labyrinth going downwards and believe me no one knows where it ends. Next, we have an 'allegory' of subterranean depths. A brief picture of what the Underworld and its marvels is: "Wind of the Dead" awakes my questions about the consuming dust of the dead and its long-post effect upon the surface where they have been buried: all your toxins and microbes are reproduced and transformed into the wind of the dead blowing down there. This is the pass from a simple state of being dead into something beyond the nomenclature of the chain of life and evolution. Sequences and artic atmospheres bring back the true origins of Karna just like the rocks reclaim the wind. The ambientation of this track is only to be compared to the cold tombstone of a non-grate person, the frozen cadaver of the black bird whose peak will not cackle any longer. Finally, "The Oblivion", just coldness, barren lands, fruitless Armageddon where the raven itself is the only survivor. Once again, some traces of forgotten Black Metal names come to mind, useless to try to compare or remind, but the band should avoid those krystal like keys performed here and there, but the voice, whose words are counted with the fingers of a hand, is exceptional.
The work called "Omega" begins with "Lost in the Dark", stuff very similar to "Diabolic" with a discharge of drones and loud atmospheres. Epic Blackness demonstrating that Karna has captured the Dark within a cell based on the formulae of its five letters. A work provoking pleasant nightmares, a prelude to step on the ship of Mother Death, a mute cry never to be heard from the throat of the horrified infant. Not to be compared, but this could be a mixture of Inade, Arca Funebris, and Grunt. Pure rebellion of sound, walls of supporting vibrations conducting the listener to the assimilation of unknown concepts, such as real freedom, real contemplation, and the visualization of a new doctrine based upon menaces over the feeble. This is Fire and real abuse of grinding power. After such a condensation of embers, a new face of Karna appears. The soft piano notes of "Scars" resemble just the moment we start writing our last will. However the tunes shown here give the right value to all scars endured while on earth, after all, they are the salt of our existence. Finally, "Behind the Mask of Sanity" is developed as a continuation of what is the purpose of Karna, breath, scars, thirst, ugly eyes, demential force, conducted imagination, symbols of demons and freezing drops falling as nails over our understanding. The mosaic of reversed subjects and views continues its demonstration of strange figures, false archetypes of nauseating truth, hard-to-grind mouthfuls of bitter contents. The voice reading a text in English and the resulting madness is almost orgasmic, 'we have to see- we have to know', the determining lament and our final stage: lifeless body whose once moving animator (clown) sometimes called 'you' was always trying to satisfy the rest, the others. Those behind the laughable mask of sanity.

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