There are many bands that draw inspiration from the mysterious, dreamlike, simply weird world of the American novelist H. P.Lovecraft. One such band can be found also on the Czech scene, though you would look for it in vein within the metal genre. What we refer to is POSTCARDS FROM ARKHAM, a post-rock project, whose mastermind is Marek “Frodys” Pytlik, who arose from the iconic North Moravian doom act DISSOLVING OF PRODIGY, as well as from the melodic death metal band AWRIZIS. Now PFA return with their second studio album with a cryptic fateful title “ÆØN5” that will take you to the world of lucid dreaming beyond angled space, where a different music of the spheres reigns supreme.
Already the first album of POSTCARDS FROM ARKHAM, entitled “Oceanize”, was a breath of fresh air on the Czech not only metal scene. “ÆØN5” goes way further. Once again, maestro Frodys took care of all music and instrumentation and conjured up a unique mix of nostalgic and poetic post-rock sound combined with a horror narrative. Here and there even an isolated black metal scream appears, more often however a splendidly sounding spoken word, uttered for example by the diva Lenka Machová from ADOR DORATH, who besides that participated on the visual and lyrical side of the album. State-of-the-art production was brought in by Libor Kukula from MetalGate
Howard Philips Lovecraft and his “weird fiction” is one those instances that show how whimsical fate can be. Neglected in life and delegated to the margins of pulp literature, today a literary icon, whose work serves as an inspiration to countless other artists across the cultural spectrum. The Czech scene is not an exception. Take POSTCARDS FROM ARKHAM for example, a post-rock/metal project by Marek Frodys Pytlik that translates Lovecraft’s legacy into its music, and that is now releasing under MetalGate Records its already third studio album entitled “MANTA”. Those who are familiar with PFA, may be surprised that the new album is somewhat darker and rawer than its predecessors. It is so because the intent was to create a counterpoint to the previous piece “ÆØN5”, both music-wise and theme-wise. While “ÆØN5” built on Lovecraft’s so-called “dream cycle”, which are stories having as their common denominator phantasmal dreamscapes that make them in a way lighter and more colorful compared to the rest of his works, “MANTA” heads into the utterly nonhuman and unfathomable cosmic voids of Lovecraftian cosmology – that is, into vistas ruled by the Demonic Sultan Azathoth, Lord of All, and to which to gain entrance entails transgressing the boundaries of the angled space, which is to say to leave behind that which we perceive as reality. Hence the contrast.
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