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The grand master of black ambience returns with this new missive from beyond the chthonic depths—extended descents into jet-black drift, funereal chamber music, monstrous metallic noise, booming ritualistic percussion, slit-throat recitations of formless horror and further abyssal abominations. Fragments From the Aethyr presents a triptych of long, sprawling pieces that descend through dark layers of cinematic sonic horror. Violin-led passages of pitch-black, dissonant chamber music are backed by booming kettledrums, traces of modern music composition and the rotting exhalations of the dead; blasts of crushing, shapeless doom thunder in the deep, sending tremors of doom-laden drone-metal rumbling through the strata of Funerary Call’s demonic industrial nightmares. The sound of Fragments sometimes resembles a Bela Bartok piece drifting through a fog of black-mass ambience and the murmurings of the long dead, the sound imbued with a deep, ominous feel but also glowing with a mysterious and dark beauty as it builds to a crescendo of black majestic power, as on the nearly twenty-minute centerpiece “Fragments.”