names are relevant, so Weltschmerz – la douleur du monde – by Fórn grabbed immediately my attention. On top of that I remember very well The Departure of Consciousness, their first album back in 2014, and I was expecting a new demonstration of huge riffing mastery: well, I got it, and much more. Made of two tracks (Saudade and Dolor, so you definitely got the concept), divided in two parts each, Weltschmerz is a quite perfect exercise in funeral sludge/doom: slow, when you have to be slow in order to move heavy loads; deep, when you can only go deeper; black, like its cover; clear, when you need a pause; vast, as the seas of feedback you have to sail; painful, like the growl that resonates down there.
Weltschmerz has a particular narrative quality, it is like an Eighteenth century symphonic poem, where every traditional element of our beloved doom conjures to make you see something in addition of what you hear. From this point of view, Dolor (Part II), which closes the album, is something that can’t be dismissed as just «atmosphere»: it’s the logical conclusion of what came before. It’s a really evocative record, without being abstract, because underneath every shade, and every desperate scream, you can always hear guitars, bass & drums (the drums!).
I said I was expecting huge riffing… well, you won’t forget what rises up in front of you, of us all, at 4’52” of Dolor (Part I): the sound of a mountain on the move.
Yours heavily, mp