Atmospheric forms of Metal can have ample sets of sonority, depending on what the musicians want to express. BURZUM did such thing on “Dauði Baldrs” (1997) and “Hliðskjálf” (1999), using a Viking/epic appeal; PAZUZU used a medieval outfit on its music, usual to MORTIIS as well; AGHAST on “Hexerei im Zwielicht der Finsternis” used a more horror-like ambience (due the band’s links with Black Metal scene of Norway). Those who are into labels as Darkwave, Dark Ambient and others will surely like what is offered by SHADOW KNELL on “Shadow Knell”.

The band brings something between Folk/Pagan Dark Ambient music, based on keyboards parts and effects, creating a set of landscaping experiences with the band’s music. It’s sometimes grandiose, sometimes tender and melancholic, and brings the hearers’ minds many different sets of ideas, especially a sad feeling of missing the past ages. It’s not something recommended for Metal fans used solely to bass guitar, drums, guitars and vocals orientated music, but’s very good for those that just want to hear music that will earn them a good time.

It’s a side project of members of POISON RUÏN, here focused (as told above) on a Dark Ambient/Medieval form of music, what means that “Intone”, “Procession”, “Out From Hiding”, “Diminished Reflection”, “The Briar Harp”, “Bell Umbra”, “Arcane Discovery” and “Night River” are solely based on keyboards and effects, a way that was used many times since the 90s, but with each song offering expressions that goes from Medieval Folk to Dark Ambient (as heard on “Arcane Discovery”, where very good pianos-like parts can be heard). The fine result is very good, but limited to people that’s used to such forms of musical expressions.

It’s obvious that the production and sonority work are in great shape, earning “Shadow Knell” an understandable outfit. But again: SHADOW KNELL can be a surprising experience for many, but people used to atmospheric music will love it for sure.