From the opening track “Holy Holy Holy Nil,” Mors Sonat’s new album Comforts in Atrocity feels like it’s set up be a release full of dark doom metal – cello chords are scraped, guitar is fuzzed and drums are struck slowly, tenderly, and with a focus on cymbal tinkling. And yet the end of this track builds up to a huge crescendo of static that threatens to overtake the melancholy rhythm heard before – there are screams in the rumble and feedback in the electronics.
Comforts in Atrocity is not your average doom album, although you’ll often find those components within. Mors Sonat have a tendency to move from quiet ambiance to cacophony in a matter of seconds, and those climaxes are the best part of this album. But the duo of Mors Sonat aren’t always using the blown-out bass and static patterns of typical harsh noise; “Sanctuary in Soil” actually does feel like the listener might bet getting buried, slowly, with the sand making a perfect staccato against whatever wooden box we’re housed in.
These tracks are often matched up with louder ones; “The Vengeance of Embrace” is the longest on this release and also one of the most interesting as a straight-up noise track. It’s got huge bass drones and a pattering rhythm at the forefront, but it also has a ton of industrial sounds and whispered voices in the background – not overly harsh or off-putting, but complex with a hint of rhythm.
Mors Sonat’s tracks often feel like they could fit in multiple genres; “The Sweet Long Legs of Hate” has a nice droning groove to it, with off-key piano and a sustained chord leading the track throughout its length. Then, there’s an absolute crushing noise track after with “So Shall I Weep in Liberation Within the Ecstasy of Decay.” There’s something for everyone, and Mors Sonat do all of it well.