MOUTH OF THE ARCHITECT / KENOMA SPLIT

In this split recording, MotA and Kenoma share the space almost equally, with the former presenting a very long single composition (>17mins) and the latter rationalising their given time with two tracks of overall duration of a bit more than 20 mins. On a first listen, the collaboration of these two bands sounds successful in terms of sound, as they both follow a similar style, heavily influenced by the post/sludge metal movement.

Starting with MotA, Sleepwalk Powder shows similar characteristics with their debut two years prior to this release. The heavy/doom guitars are the dominant instrument, followed by a solid rhythm section, with the tuned-down bass guitar providing the - rather creeping - pace. The composition follows a similar pattern throughout with no real surprises. The first minor change occurs somewhere around the 12th minute and falls back in the main theme. The pace is constantly slow and the riffs quite repetitive, not allowing for any real variety or progressiveness in the track. The lyrics are limited and produced by rather brutal vocals which blend nicely with the style. Apart from a few well-worked doom-like guitar riffs, the taste that this tracks leaves is that of indifference.

The Nature of Empire is the first track by Kenoma, and shows many similarities with its predecessor: a slow, based on heavy riffs, instrumental track that shows signs of repetition but slightly more interesting guitar passages and a small ''dose'' of variation. However, the feeling here is identical: a ''prolonged'' composition that is uncertain if it is worth its 11 or so minutes. 1913, the track that concludes this collaboration, stands out compared to the rest. It starts off with a slow melodic doom experimental passage where clean, distorted and bass guitars create a melancholic atmosphere for the first half of the track. The approach resembles to that of Anathema and related bands. The track switches to a mid-tempo melodic post-rock second half that, without being exceptional, leaves a pleasant feeling in the end.

Apart from 1913 by Kenoma, there is nothing really great in this compilation unless you are a completionist and a big fan of the post-sludge metal genre. In my opinion, not ideal to get a feeling for MotA, whose debut is much more interesting than the long composition presented here.