From Bandcamp, The musical style of KARG is a furious, hysteric mixture of Atmospheric Black Metal and a huge load of Post Rock, with influences also from Grunge, Shoegaze and Post Punk. The influences from other genres than Black Metal evolved more and more within the last few years but were there in abridged form since day one. Texturally, KARG always was about the more melancholic side of life, such as broken relationships, lost love, estrangement, drug abuse, loss or suicide thoughts and depression. In contrast to many other bands, their lyrics are as equal important as their music.”

The album has eight songs, and “Schnee ist das Blut der Geister” is first. It enters slowly, with a solemn ring, followed by a crushing riff with semi-harsh vocal screams. Meaty bass notes combine with some melodic leads, and the song isn’t short on emotions by any stretch. In fact, it is probably the most notable feature, and the ending piano notes put a stamp on that. “Findling” has more pacing and energy but ethereal melodies hang in the balance. The song is overwhelmingly depressive at its core, and it could either lift you up with its fast, hardened tones, or hold your head under the water. Its inherent heaviness is only bested by the level of poignancy it possesses.

“Yūgen” seemingly has more positive tones, but when you peel back the layers, it stabs you in the heart again. There are two types of vocals…smooth cleans, and tortured harsh, and this is exactly the dichotomy of the album. “Verbrannte Brücken” has devastatingly heart-broken sounds, as if the person affected is screaming in pain from the top of a cliff. You can hear the level of anguish he experiences with every shout. “Annapurna” clocks in at over eight minutes, which is plenty of time to wallow in its depression. The layers seem to creep up on you, until they reach your neck, and bury you. I swear, his screams could wake the dead.

“Reminiszenzen einer Jugend” offers a sprinkle of melody with the main course of ominous depression. Although the pace is jovial, it’s almost like a muscle car where the gas pedal is stuck. You won’t find a happy ending here. Take away the tortured vocals in “Kimm,” and the music is fairly happy sounding. But add them back, and you can feel the two competing sides locked in mortal battle with one another. The ending is like a sunset that may never rise again. “Anemoia” closes the album, and it has a groove in the main riff, augmented with meaty bass notes. The vocal screams however remind you that some pain can never fully be taken away, and it lingers forever.  

This is such an emotionally charged album that it seems like it goes on for days. There is melody within the maelstrom, but they are constantly being stomped out by the weight of the giant’s massive foot. What results is a captivating listening experience. I have always said that the darkness holds a certain level of beauty, and charm, and this is a poetic prose.